November 18, 2025 • 26 mins
On this episode of the Caped Wonder Superman Podcast, Jay Towers and Jim Bowers talk with Prop Store’s Stephen Lane in London about December’s big auction featuring the original Kal-El starship from Superman: The Movie, a Christopher Reeve tunic, General Zod’s wig and boot, rare scripts, photos, Kryptonian costumes, and more. Jay and Jim get the inside scoop as only they can in this special edition.
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Episode Transcript
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Speaker 1 (00:00):
Now the Cape Wonders Superman Podcast with Jay Cowers and
Jim Bowers on iHeartRadio.
Speaker 2 (00:15):
It's a special edition to the Cape Thunder Superman Podcast
in Detroit.
Speaker 3 (00:18):
I'm Jay Towers.
Speaker 2 (00:19):
As always, my great friend and co host Jim Bowers
is just outside of Las Vegas and we are ready
for one of our absolute favorites, Jim, because once again,
the Prop Store auction is back from London December fifth
through the seventh, and this one is jam packed with
everything a Superman fan could ever want.
Speaker 4 (00:39):
I was blown away when I saw everything on their website.
Holy Krypton, look at that starship, look at that Cape newspaper,
zod Wig. Who would have thought.
Speaker 3 (00:51):
He's like the UK Santa Claus.
Speaker 2 (00:53):
Stephen Lane has joined us from Propstore, bringing us the
gift of Superman.
Speaker 3 (00:58):
Joy Steven, how are you.
Speaker 5 (01:00):
I'm very good, things Man, very good, and I'm excited
that I've got some really interesting and different things to
talk about with you today. You know, year or year,
we never know what's going to come through the door.
Obviously we're out there ferreting away trying to find where
these treasures have landed. But sometimes it's thin pickings. This year,
I think we've got a bonanza of Superman items for
us to chat through and talk about. It's exciting, really exciting.
Speaker 4 (01:22):
Yeah, you texted me a few weeks ago and said
I've got a cracking Superman's selection this time. I love
that word.
Speaker 5 (01:30):
So yeah, it's very me.
Speaker 2 (01:33):
Well, yeah, let's get started. I mean, listen the centerpiece.
I really well that Superman keeps pretty spectacular with the
centerpiece of this auction. For a Superman fan, or really
if you're just a movie fan, is that starship Stephen,
talk a little bit about it.
Speaker 5 (01:48):
Yeah, I mean, this is I suppose what you classed
the crystalline Kryptonian spaceship that, of course Jurel, Superman's father,
puts the baby Calao into for his journey to us.
This was built by the incredibly talented Derek Mannings and
his team. The design of it is so it's so anient,
isn't it. I mean, this doesn't really look like any
(02:10):
spaceship that we saw pre Superman, and I don't really
feel like anybody's designed a spaceship like this subsequently, So
I think it looks like a bright shining star. You
can see it pop in the light right there, right
now as well. But I just I think the design worked.
I think it's a really interesting art of fact. The
one thing got to be really careful is carrying that
thing around. I'll tell you it's very It is as
(02:30):
pointy and spiky as it looks.
Speaker 4 (02:32):
It is absolutely remarkable, and it's got a lot of
really reflective pieces on the spikes, doesn't it's even.
Speaker 5 (02:39):
Yeah, absolutely, and this has undergone some sympathetic and very
careful restoration. It took a few months to do this.
There were a few spikes missing when we first got this,
and so actually one of the complexities of the restoration
for this was that three m reflective tape that's on there.
The three M tape that they used during this era
no longer exists. So my guy actually had to lay
(03:01):
it up first of all in black on every facet
of each of those spikes, the three spikes that we replaced,
and then overlay it again in white to ensure that
when you're looking through the spike and it's not the
illuminated elements of it, that it looks exactly the same
and represents exactly the same as the rest of it.
And it's actually it's really difficult to like, even though
it looks brilliant and beautifully lit right now, when you're
(03:21):
basically your point of view is looking directly at it
from the light source, it just bounds back and lights
up like a Christmas tree. It's it's astonishing, right.
Speaker 4 (03:30):
It's the same effect essentially of the glowing costumes of
the Kryptonian Elders, same three in material you had. The
light source had to be directly in alignment with the
camera in order for you to be able to see
the glow. Now this stand is that stand included with
it that that black bass that we see there.
Speaker 5 (03:48):
Yes, so we thought long and hard about or I
thought long and hard about how how it was that
this should be displayed. It actually has running through the
center core of the ship. There's a pipe that runs
through the middle of this, and we would surmise that
that would have been used to run it down a
line for filming. So this gives it that stability.
Speaker 2 (04:07):
It looks spectacular, I mean really, it just it's so
much bigger than I thought it would be. You know,
when you hear miniature, you often think, you know, maybe
the size of your head. I's it is a pretty
big piece for a miniature so yeah, it looks great.
It would be great anywhere on display for sure.
Speaker 5 (04:23):
Yeah, and I should just note the other element from
a restoration perspective was the sort of white fluff that's
in the middle of this, which is almost like a
fiberglass material, was very very yellow, very very dirty. We
were going to clean it, wash it and reposition it,
but really it was just so dirty and so grubby
that we took the decision to leave that out. But
it comes with it. So if anybody wanted to retrospectively
(04:46):
reposition the original fluff back in there, than they could do.
But really, this just looks a hundred times better with
the fresh white in there.
Speaker 4 (04:53):
Absolutely beautiful, and your photography whoever shot the photos took
a marvelous job and really a showcase that's bringing it
to life. I mean, it's just it's just amazing.
Speaker 5 (05:04):
That was George. She's actually off camera at the moment,
so we'd be very happy to hear your comments.
Speaker 4 (05:07):
Yes, absolutely beautiful, and I imagine that your box that
you ship that in is going to be huge.
Speaker 5 (05:14):
We have a custom crate firm coming in to build
a crank for it next week. Yeah. Absolutely, but listen,
one question I've got for you guys. And again, I
don't know whether you've noticed this detail in the photos
that you've been looking at, but this does have these
two support bars, so it has one that that runs here.
It's it's like a steel rod that comes through here
and then it comes out here as well. Do you
do you know anything about that? You've got any insight
(05:35):
there at all?
Speaker 4 (05:36):
Well, if you watch the scene where it first exits
the laboratory and it's coming towards the camera, it has
yet to start spinning.
Speaker 2 (05:44):
But Jim, if there's an entry and an exit point
there which is different than the one through the center,
could could that have been for a metal rod or
something to spin it?
Speaker 4 (05:54):
Possibly, yes, but it may not. That may not have
made the cut. Yeah, And I I always assumed it
was because they just weren't able to get it to
do that, because I knew Derek Mattings worked in very
large scale. And then I thought, well, maybe it's not
meant to spin until it leaves the atmosphere, you know.
Speaker 5 (06:12):
So no, it's a bit of a mystery at the moment,
which we would love to resolve, but maybe it would
just remain a mystery. Sometimes these things do.
Speaker 2 (06:20):
Let's talk about the newspaper behind you. We see this
in the Richard Donner cut of Superman two. That's where
we see Lois Lane kind of hunched over that newspaper
sharpie like this maybe not a red one, and kind
of figuring out maybe that these two guys are the same.
That's a pretty unbelievable prop for a Superman fan.
Speaker 5 (06:41):
This is actually something that I handled many many many
years ago, and the sort of come back round to
prop store subsequently. I think I'm pretty right in saying
that it also comes with a contact sheet as well.
It's either the original contact sheet or a copy of
the contact sheet which actually shows that scene before it
was from the original theatrical release. Just so that we're
(07:02):
clear what we're talking about is is this black pen
doodling that's been put on here, where as you say,
Lois Lane is trying to fathom out whether or not
it's clock can It is a great spread of a newspaper.
We've had a lot of daily planets over the years,
and the majority of those daily planets have a tendency
to be the front and back covers and then have
a winter and eating express on the inside of them.
(07:24):
As we talked about in the past, this is a
real sort of what you would class as a hero
almost for an insert shot paper, so you would expect
sort of a point of view over Lois Lane's shoulder
or something while she's doodling that. And then it's been
signed down here as well by Margo Kidder.
Speaker 1 (07:40):
Well.
Speaker 4 (07:40):
Our good friend Andy Hanton, who's part of our Keeped
Wonder network, has seen this paper in person. It was
autographed by Margo at the London Film and Comic con
a few years ago, and the gentleman who asked her
to autograph it specifically asked her to do it in
pencil because he didn't want the autograph to bleed through
(08:01):
the paper.
Speaker 5 (08:02):
Well look at that. Yeah, you're absolutely right. I hadn't
hadn't clocked that that's in pencil. It. I love it.
When I learned from you guys.
Speaker 4 (08:10):
Well that's thanks to Andy, so we appreciate those details. So, yeah,
he saw at a Birmingham, England convention and it was
very impressed by it.
Speaker 2 (08:19):
Let's talk about that miniature there, the Superman costume. Boy,
the detail and the photographs of that are unbelievable.
Speaker 5 (08:26):
Yeah, this is this is beautiful so we would sort
of estimate this to be, I suppose a quarter scale miniature.
What you might be able to see is sort of
discolouration here in it. So there's a little bit of yellowing.
It's just sort of off the standard blue color that
you'd hope to see. But it's not too offensive, you know,
it's just off. It's a few shades off, but it's
not horrible. We wouldn't class this as a model miniature.
(08:48):
It is the flying miniature costume, if you like. And
as you can see, we've got the full detail of
the s logo on the back, you know, you've got
some of the finer detail on the front there with
the emblem on the chest of course, and its own
sort of separate belts unit that goes on here as well.
I think it's fun actually to consider miniature costumes. You know,
(09:10):
it's not something that you think about that when you
talk about model miniatures. Not only is somebody crafted very
carefully this model miniature figure or figuringe. Whatever, but then
somebody else is sat there and very carefully measured up
and stitched together a miniature costume. And so this is
a miniature, complete miniature Superman costume, and I think it
presents beautifully as well. It's a great piece.
Speaker 4 (09:33):
Would you say that the fabric is the identical or
similar fabric to the actual Chris Reeve full scale costume,
the waffle weave polymid type of material.
Speaker 5 (09:42):
Yes, yeah, I think that they've taken and probably as
much to ensure a color match as anything else. I
think they've taken off cuts of the original material. I
think certainly for the main tunic. The belt, interestingly enough,
is directly comparable as well to the main hero main
costume belts that we've seen, so that could well also
(10:03):
be the same material. I feel like this might be
slightly lighter in fabric to the to the main cloak.
I think perhaps to allow for movement. Of course, this
will be a flying miniature, so it would have been
long shots as it's sort of flying across, so I
think that this is probably slightly lighter. But they've got
a really good color match. You know, when you see
the two close together.
Speaker 2 (10:24):
As a guy that has an Ursa costume and Non's boots,
you know, I've been eyeing up that General Zod wig
and General zod boot. But this in a year that
we just lost Terren Stamp sadly real Superman history here
Superman two.
Speaker 5 (10:39):
Yes, yeah, from Superman two. And I think it's fair
to say, unless you've watched some of our interviews previously,
you might not even be aware that a lot of
instances the actors do wear wigs. You know, it's not
their real hair. We've had Christopher Reeve, both Clark Kent
and Superman wigs in our prior auctions. This is the
first time I've actually handled the Terran Stamp wig. What's
(11:01):
really nice about is it that it comes with its
original box, So this is a Whig Specialties box. Wig
Specialties is the company in the UK that did a
huge amount of wig work for films during this period.
So I've seen these boxes not only for Superman content previously,
but also for films like Star Wars as well. The boot,
we only have one boot. While we only have one boot,
(11:22):
I can't really answer that question how they got separated,
the hall A pair got split. But again we've got
the influences of that three M that sort of reflective
material that's been used within the boots as well. There's
actually a very very deep sort of burgundy, deep red
hue within this which does catch the light just slightly.
It's got a very heavy black tinto it, but you
(11:42):
can see it reflecting from time to time.
Speaker 4 (11:44):
You can really see that red in Zod's costume when
he and the other two villains land on Earth in
Superman to the Theatrical when he lands in the water.
Speaker 5 (11:54):
And so when they're landing on Earth. Is that because
you're seeing it within natural light rather than studio light,
that you're getting to see more of that reflecting and
bouncing off it.
Speaker 3 (12:01):
I believe.
Speaker 2 (12:02):
So, yes, you have a blue it appears to be
a blue script there in front of you, and there's
some history there and a polaroid that has never been
seen before, So.
Speaker 5 (12:13):
This is a script from Superman one and Superman two.
It also has a number of pages of storyboards within
there as well. I think also as part of the
lot there's some cool sheets. So it's a really nice
collection of e femera. But just buried with the within
the paperwork and the folder is this wonderful polaroid that's
just sitting down at the front here of Christopher Reeve
(12:36):
looking a little bit worn out. It looks a little
bit tired out there, and he's catching a few z's
when he's got a finement off camera. That chair doesn't
look too comfory that he's slumbered in either, So, yeah,
making the most of a break, I think by the
looks of it.
Speaker 4 (12:50):
And there appears to be a pole connected to the chair,
and I think it might be for a light for
him to be able to sit there and review the script.
Now Chris Reeves chair, which I have in my office
as a script box. You could request a chair with
or without a script box, and he wanted one with
so I assume that's for reading. Since he was in
(13:12):
the dark. If you look on the far left edge
of that polaroid, you'll see what looks like a big
chunk of aluminum foil of some kind. And I do
believe that might be a break he's taking from filming
the San Andreas Fault underground repair sequence.
Speaker 5 (13:28):
Yeah, and actually that would sort of tie in. I mean,
it is difficult to see because it is quite a
dark shot, but he looks quite dirty, you know, literally,
as in his costume looks distressed with dirt, so that
that would tie very nicely to the sort of scene
that you're talking about. That's the likely shot that he's
just either sort of preparing for mentally one way or another,
(13:48):
or just having already shot the worn out from it.
Speaker 3 (13:51):
Now.
Speaker 4 (13:51):
This material was owned by Mike Fox, who was a
camera operator on the film.
Speaker 5 (13:57):
I won't open this because it's some of it's quite loosely.
It's obviously very old paper and it's quite delicate, but
I think it's signed on the front cover by Mike
as well.
Speaker 4 (14:05):
There's also a piece of official Superman the movie stationary
in there, and it's blue with a very beautiful foil
red and yellow sh shield in the corner, and that
was used by the producer's director, Christopher Reviews that I
guess anyone on the production could. But it's dated twenty
(14:26):
eight October nineteen seventy seven, the day the film wrapped,
the day they had the wrap party at Pinewood, and
it's signed by Ilia s Alkind and Pierre Spangler to Mike.
So that was a very nice gesture that they've basically
written him a thank you letter.
Speaker 5 (14:40):
Yeah. I love that actually that they produced that headed paper.
You know, there were a few productions during that period
that we're doing it, but it sort of emphasizes just
how significant this film was as a production.
Speaker 2 (14:51):
I mean there were branded Christmas cards too that had
been on prop store before that. They really went all
out and something that you'd you know, I guess now
and companies do digitally or films do digitally with what
they call social media assets. But for a film like
this in seventy eight, I mean, it had all the
bells and whistles that you know PR Department would want.
Speaker 4 (15:10):
Tell us about that beautiful, well used clapperboard. I love it.
Speaker 5 (15:14):
Yeah. What I love about this is that, you know,
I would certainly call this the main unit capable because
it's got Richard Donner's name on it. It may well
be in that it's been used for other applications. But
when you actually lift this up and sort of hold
it to camera and maybe we can get some of
it there, I mean, there are layers and layers of
tape on this, so as they go through the filming process,
(15:38):
instead of sort of tearing it off and starting from scratch,
they just lay it up the next layer with the
next date on. It's probably written on by an assistant
and they get stuck on in the morning before they
start the cameras rolling. Of course, at this stage those
glues have hardened you're not going to peel it back
and sort of be able to see every date. Some
of the excess tape is sometimes laid up on the back,
(16:01):
so that's why you've sort of got a see here.
So at some point the sea would have been on
the front. And what we've also got here is a
run of notes which refers to the amount of footage
of film that was being used for specific shots as well.
Film is expensive, I mean it is expensive, and so
it's an important thing to keep track.
Speaker 4 (16:18):
Of, especially in this case considering that Richard Donner shot
over a million feet of film.
Speaker 5 (16:23):
There's a number a million feet. I wouldn't want to
be an editor to edit in feet of film.
Speaker 2 (16:30):
Do we know Stephen a clapper boarder like that? Price Wise,
what are we looking at here? We haven't really gone
over too many prices, but we know everything's on the website.
Speaker 3 (16:38):
But what do we know?
Speaker 5 (16:39):
Yes, this has an auction es some at about fifteen
thousand to thirty thousand dollars, so some of the reason
of about ten thousand pounds. Of course, the auction is
taking place in London, and so we've we're sort of
running an approximate conversion there for you. But some of
the reason of about fifteen thousand dollars.
Speaker 3 (16:56):
Behind you is a Superman tunic. Tell us about that.
Speaker 5 (17:01):
So yeah, the wonderful tunic that you can see behind
me is from Superman. Three beautiful vivid colours to this,
I mean, it's really Chris, really sharp, very little sort
of degradation to it. This is one that came out
of the Warner Brothers archive. It has a Warner brother
certificate that accompanies it as well. And this would have
(17:22):
been used for harness work. That actually has a slit
fabricated into either side here, which would allow it to
work around the harness rig that would sit underneath this
and then clip obviously on the outside of it, and
then across the shoulders. Here we have the very distinctive poppers,
which of course would match up and marry up nicely
to the cake that we have on display as well.
(17:45):
But it's a really really nice example. I just love
just the way the colors on that.
Speaker 4 (17:49):
Pop beautiful example, and the reds and yellows are intact,
and it appears that there really aren't any flaws at
all in the fabric itself. It's one of the best
looking to I've seen.
Speaker 5 (18:01):
It's glorious, really glorious displays well as well, doesn't it
looks great in that case?
Speaker 4 (18:05):
Oh, it really does.
Speaker 2 (18:06):
We'll wrap up with what is a beautiful keep, A
walking keep from Superman and Stephen tell.
Speaker 5 (18:13):
Us about this. Yes, so this is from Superman three,
is stated and labeled on the inside of it has
a Christopher Reeve name and then the date nineteen eighty
two as well. I think it also states walking as well,
and the reason for that is the capes were used
for a multitude of different applications. So again a really
(18:35):
wonderful example. It's in great condition, very very little rare
or degradation to it at all. That the colors holding
up beautifully. We've got the wonderful patch that's been applied
here as well. I don't think we've screamatched it to date,
but maybe it's something that might be done in the future.
Speaker 4 (18:51):
Right, And it has all four snaps or poppers intact,
and of course the two straps that are sewn on
which went under his armpits. So this is really really
a beautiful example. And you know, by the time Superman
three came along, they had really nailed down the process
of producing these and sometimes they were repurposed. It doesn't
(19:15):
appear that this one was since it just has one
date on it.
Speaker 5 (19:18):
You can see the way it beautifully hangs on the mannequin.
You know, it's not like we spend a lot of
time dressing this. As you say, by the time they
got to Superman three, they really nailed it. But you know,
you can see that this is actually all stitched into
shape here. You know, this is the folds that have
been sewn into this to create that. There's a lot
of thoughts. So not only does it have the poppers
(19:39):
to match up to the tunic that we see there,
so it holds it perfectly aligned and in place, but
it's also stitched to give the perfect fold effect on
the back of it as well, which I think is ingenious.
Speaker 4 (19:49):
Some of the very early capes back in the Dinner
years did not have yellow creeping out of the black,
which typically tells you it's some of the first capes
that were ever made. If it doesn't have yellow, this
could have been a repurpose cape from the earlier days.
But now this more than more than ever, convinces me
(20:10):
that it was made for three.
Speaker 5 (20:11):
It's unusual for a sort of a just a part
component of a costume to present as well as a cape.
Does you know? It just it's sort of it's all encompassing,
isn't it. It just it says everything about it and
you could easily just have that as a centerpiece for
a collection without the rest of the costume, and it
just pops immediately.
Speaker 4 (20:28):
It's beautiful. It's my favorite piece in there, although that
starship is it's calling to me a little great here.
Speaker 3 (20:34):
It's pretty great. Well, listen for people that don't know.
Speaker 2 (20:40):
The Prop Store auction is happening December fifth through seventh.
In addition to all the great Superman things we've shown
you on the Cape Ponder Superman podcast today, you have
so much great movie memorabilia and all different and Steven
said it earlier, different price points and different types of props,
and even animation this year.
Speaker 5 (21:00):
Steven, Yeah, we got animation art for the first time
as sort of a key category or cool cashgrew within
the auction. So we've offered animation arts in the past,
and there are some Superman related animation art cells in
there as well, So if you guys haven't picked up
on that and haven't checked them out, they are in there.
Speaker 4 (21:17):
Well, one of my favorite lots that we haven't discussed
is the lot of Kryptonian costumes that Evon Blake designed,
and so you've definitely got to get on the website
and check those out because they're really really unique and
one of them looks like a white Christopher Reeves Superman tunic,
So definitely check that out.
Speaker 2 (21:35):
I'll leave you with this, Steven, and just for the
good work that you do and kind of the story
behind some of these props. But I was fortunate enough
just a couple of weeks ago to be in Cincinnati
for the Pop Expo, and you know, to see Jack
O'Halleran and his non boots reunited, and to see Mark
Pillow and his Superman four costume reunited, and to see
(21:57):
Sarah Douglas and her Ursa costume reunite. All at this
at this comic con, they were such showstoppers. People walk
by and you know, they see the star from their film,
but it's the costume that connects them to the film
first and foremost. In twenty twenty five, and to see
the amount of people that photograph themselves and selfied with
(22:20):
these costumes because of the nostalgia that it brings back,
and how excited they were to ask is this a cosplay?
Speaker 3 (22:28):
Is this real?
Speaker 2 (22:28):
And like, you know, this is the real deal, and
then to have you know, Sarah or Mark say no,
I wore this. Those are really special moments that sometimes
people don't get to experience. So when you see that
in person and how fans react to it, you see
why people attach themselves to the objects and the props
and the costumes from their favorite movies no matter what
the film is, because it just brings you back.
Speaker 3 (22:50):
It's the instant time machine.
Speaker 5 (22:52):
I mean, it really just takes you back to a
moment in time, doesn't it. For a lot of people,
it would have been when they were sitting in the
cinema watching it in nineteen seventy eight the first time,
and it's like an immediate flashback to it. And I
think you know a lot of collectors who collect these
sort of artifacts. They might start with things like toys
and autographs, which you know, are obviously very closely related
(23:14):
to the production, but there is a very different and
almost tangible connection when you're really getting up closer to
these things that have been on camera. And it was
just a great story to hear. Thanks Jay, I hadn't.
I wasn't aware that there was such a gathering of
original artifacts at one convention. That's that's really awesome. And look,
(23:34):
that's what we love. We love bringing this stuff out
for people to see. We love spending time cleaning, preparing, preserving, restoring.
You know, it's a big part of our philosophy that
these things should live on for other generations other people.
Speaker 4 (23:49):
I think it's really great that you're including an autographed
picture of Christopher Reeve with that tunic.
Speaker 5 (23:56):
Correct, Yeah, that goes with it as well.
Speaker 4 (23:59):
Yeah, as Christopher autographs are still so desirable today, and
that's I've never seen you do that, so that's wonderful.
Speaker 3 (24:05):
That's great.
Speaker 5 (24:06):
I think it's the collector who bought this from us originally.
He then actually went out to get a ten by
eight as best he could. It took him a while
to find it to go with it as well. And
I think it's a really nice still with a really
nice autograph on it as well.
Speaker 4 (24:19):
Well.
Speaker 2 (24:20):
Stephen Lane, it's always a pleasure to have you. We
look forward to the auction this year. We encourage our
Superman fans and friends to go and check out propstore
dot com, get yourself registered and at the very least watch.
It's so exciting to watch these pieces be auctioned live.
It's as exciting as buying them. And let me tell you,
it is a real thing to be a part of.
(24:40):
So we'll be watching and participating and December fifth through
the seventh we will be tuned in. Stephen, thank you
so much as always for being so kind and spending
time with really a lot of time showing us these
great artifacts today.
Speaker 5 (24:53):
It's been an absolute pleasure. I love this. I love
this gathering of the three of us annually to have
these conversations dives, which I don't often get to do,
so it's an absolute pleasure for me as well. Thank
you well.
Speaker 4 (25:04):
I'm very grateful for you, Steve, and I know all
of the Caped Wonder fans and Superman fans are as
well with you sharing all these hi Res photographs alone
are just magnificent.
Speaker 5 (25:14):
Oh the reference is there for everybody forever, so hopefully
everybody can get to enjoy it, even if you don't
want to bid and you don't want to participate, download
those photos and keep them safe.
Speaker 3 (25:24):
Very good, the great Stephen Lane, thank you so much.
Speaker 2 (25:26):
Thank you to prop Store, Jim, thank you and check
out the prop Store auction.
Speaker 3 (25:30):
Of this year.
Speaker 2 (25:31):
We'll be back again, of course with another great Keep
Wonder Superman podcast before the end of the year to
kind of recap some of the great things. But for now,
that's all we have for today. Jay Towers here in
Detroit and Jim, as always, stay super You've.
Speaker 1 (25:45):
Been listening to the Cape Twonders Superman podcast on the
iHeartRadio app. Jay Towers is a Detroit TV anchor and
morning radio host on one hundred point three w NIC Detroit.
Follow Jay on Instagram and Twitter at Jay Towers. Jim
Bowers is the founder and editor of Kapewonder dot com,
(26:05):
the home of Cape Wonder Superman imagery. Follow Jim on
Instagram at Cape Wonder and on Twitter at Cape Wonder
Jimm
Now the Cape Wonders Superman Podcast with Jay Cowers and
Jim Bowers on iHeartRadio.
Speaker 2 (00:15):
It's a special edition to the Cape Thunder Superman Podcast
in Detroit.
Speaker 3 (00:18):
I'm Jay Towers.
Speaker 2 (00:19):
As always, my great friend and co host Jim Bowers
is just outside of Las Vegas and we are ready
for one of our absolute favorites, Jim, because once again,
the Prop Store auction is back from London December fifth
through the seventh, and this one is jam packed with
everything a Superman fan could ever want.
Speaker 4 (00:39):
I was blown away when I saw everything on their website.
Holy Krypton, look at that starship, look at that Cape newspaper,
zod Wig. Who would have thought.
Speaker 3 (00:51):
He's like the UK Santa Claus.
Speaker 2 (00:53):
Stephen Lane has joined us from Propstore, bringing us the
gift of Superman.
Speaker 3 (00:58):
Joy Steven, how are you.
Speaker 5 (01:00):
I'm very good, things Man, very good, and I'm excited
that I've got some really interesting and different things to
talk about with you today. You know, year or year,
we never know what's going to come through the door.
Obviously we're out there ferreting away trying to find where
these treasures have landed. But sometimes it's thin pickings. This year,
I think we've got a bonanza of Superman items for
us to chat through and talk about. It's exciting, really exciting.
Speaker 4 (01:22):
Yeah, you texted me a few weeks ago and said
I've got a cracking Superman's selection this time. I love
that word.
Speaker 5 (01:30):
So yeah, it's very me.
Speaker 2 (01:33):
Well, yeah, let's get started. I mean, listen the centerpiece.
I really well that Superman keeps pretty spectacular with the
centerpiece of this auction. For a Superman fan, or really
if you're just a movie fan, is that starship Stephen,
talk a little bit about it.
Speaker 5 (01:48):
Yeah, I mean, this is I suppose what you classed
the crystalline Kryptonian spaceship that, of course Jurel, Superman's father,
puts the baby Calao into for his journey to us.
This was built by the incredibly talented Derek Mannings and
his team. The design of it is so it's so anient,
isn't it. I mean, this doesn't really look like any
(02:10):
spaceship that we saw pre Superman, and I don't really
feel like anybody's designed a spaceship like this subsequently, So
I think it looks like a bright shining star. You
can see it pop in the light right there, right
now as well. But I just I think the design worked.
I think it's a really interesting art of fact. The
one thing got to be really careful is carrying that
thing around. I'll tell you it's very It is as
(02:30):
pointy and spiky as it looks.
Speaker 4 (02:32):
It is absolutely remarkable, and it's got a lot of
really reflective pieces on the spikes, doesn't it's even.
Speaker 5 (02:39):
Yeah, absolutely, and this has undergone some sympathetic and very
careful restoration. It took a few months to do this.
There were a few spikes missing when we first got this,
and so actually one of the complexities of the restoration
for this was that three m reflective tape that's on there.
The three M tape that they used during this era
no longer exists. So my guy actually had to lay
(03:01):
it up first of all in black on every facet
of each of those spikes, the three spikes that we replaced,
and then overlay it again in white to ensure that
when you're looking through the spike and it's not the
illuminated elements of it, that it looks exactly the same
and represents exactly the same as the rest of it.
And it's actually it's really difficult to like, even though
it looks brilliant and beautifully lit right now, when you're
(03:21):
basically your point of view is looking directly at it
from the light source, it just bounds back and lights
up like a Christmas tree. It's it's astonishing, right.
Speaker 4 (03:30):
It's the same effect essentially of the glowing costumes of
the Kryptonian Elders, same three in material you had. The
light source had to be directly in alignment with the
camera in order for you to be able to see
the glow. Now this stand is that stand included with
it that that black bass that we see there.
Speaker 5 (03:48):
Yes, so we thought long and hard about or I
thought long and hard about how how it was that
this should be displayed. It actually has running through the
center core of the ship. There's a pipe that runs
through the middle of this, and we would surmise that
that would have been used to run it down a
line for filming. So this gives it that stability.
Speaker 2 (04:07):
It looks spectacular, I mean really, it just it's so
much bigger than I thought it would be. You know,
when you hear miniature, you often think, you know, maybe
the size of your head. I's it is a pretty
big piece for a miniature so yeah, it looks great.
It would be great anywhere on display for sure.
Speaker 5 (04:23):
Yeah, and I should just note the other element from
a restoration perspective was the sort of white fluff that's
in the middle of this, which is almost like a
fiberglass material, was very very yellow, very very dirty. We
were going to clean it, wash it and reposition it,
but really it was just so dirty and so grubby
that we took the decision to leave that out. But
it comes with it. So if anybody wanted to retrospectively
(04:46):
reposition the original fluff back in there, than they could do.
But really, this just looks a hundred times better with
the fresh white in there.
Speaker 4 (04:53):
Absolutely beautiful, and your photography whoever shot the photos took
a marvelous job and really a showcase that's bringing it
to life. I mean, it's just it's just amazing.
Speaker 5 (05:04):
That was George. She's actually off camera at the moment,
so we'd be very happy to hear your comments.
Speaker 4 (05:07):
Yes, absolutely beautiful, and I imagine that your box that
you ship that in is going to be huge.
Speaker 5 (05:14):
We have a custom crate firm coming in to build
a crank for it next week. Yeah. Absolutely, but listen,
one question I've got for you guys. And again, I
don't know whether you've noticed this detail in the photos
that you've been looking at, but this does have these
two support bars, so it has one that that runs here.
It's it's like a steel rod that comes through here
and then it comes out here as well. Do you
do you know anything about that? You've got any insight
(05:35):
there at all?
Speaker 4 (05:36):
Well, if you watch the scene where it first exits
the laboratory and it's coming towards the camera, it has
yet to start spinning.
Speaker 2 (05:44):
But Jim, if there's an entry and an exit point
there which is different than the one through the center,
could could that have been for a metal rod or
something to spin it?
Speaker 4 (05:54):
Possibly, yes, but it may not. That may not have
made the cut. Yeah, And I I always assumed it
was because they just weren't able to get it to
do that, because I knew Derek Mattings worked in very
large scale. And then I thought, well, maybe it's not
meant to spin until it leaves the atmosphere, you know.
Speaker 5 (06:12):
So no, it's a bit of a mystery at the moment,
which we would love to resolve, but maybe it would
just remain a mystery. Sometimes these things do.
Speaker 2 (06:20):
Let's talk about the newspaper behind you. We see this
in the Richard Donner cut of Superman two. That's where
we see Lois Lane kind of hunched over that newspaper
sharpie like this maybe not a red one, and kind
of figuring out maybe that these two guys are the same.
That's a pretty unbelievable prop for a Superman fan.
Speaker 5 (06:41):
This is actually something that I handled many many many
years ago, and the sort of come back round to
prop store subsequently. I think I'm pretty right in saying
that it also comes with a contact sheet as well.
It's either the original contact sheet or a copy of
the contact sheet which actually shows that scene before it
was from the original theatrical release. Just so that we're
(07:02):
clear what we're talking about is is this black pen
doodling that's been put on here, where as you say,
Lois Lane is trying to fathom out whether or not
it's clock can It is a great spread of a newspaper.
We've had a lot of daily planets over the years,
and the majority of those daily planets have a tendency
to be the front and back covers and then have
a winter and eating express on the inside of them.
(07:24):
As we talked about in the past, this is a
real sort of what you would class as a hero
almost for an insert shot paper, so you would expect
sort of a point of view over Lois Lane's shoulder
or something while she's doodling that. And then it's been
signed down here as well by Margo Kidder.
Speaker 1 (07:40):
Well.
Speaker 4 (07:40):
Our good friend Andy Hanton, who's part of our Keeped
Wonder network, has seen this paper in person. It was
autographed by Margo at the London Film and Comic con
a few years ago, and the gentleman who asked her
to autograph it specifically asked her to do it in
pencil because he didn't want the autograph to bleed through
(08:01):
the paper.
Speaker 5 (08:02):
Well look at that. Yeah, you're absolutely right. I hadn't
hadn't clocked that that's in pencil. It. I love it.
When I learned from you guys.
Speaker 4 (08:10):
Well that's thanks to Andy, so we appreciate those details. So, yeah,
he saw at a Birmingham, England convention and it was
very impressed by it.
Speaker 2 (08:19):
Let's talk about that miniature there, the Superman costume. Boy,
the detail and the photographs of that are unbelievable.
Speaker 5 (08:26):
Yeah, this is this is beautiful so we would sort
of estimate this to be, I suppose a quarter scale miniature.
What you might be able to see is sort of
discolouration here in it. So there's a little bit of yellowing.
It's just sort of off the standard blue color that
you'd hope to see. But it's not too offensive, you know,
it's just off. It's a few shades off, but it's
not horrible. We wouldn't class this as a model miniature.
(08:48):
It is the flying miniature costume, if you like. And
as you can see, we've got the full detail of
the s logo on the back, you know, you've got
some of the finer detail on the front there with
the emblem on the chest of course, and its own
sort of separate belts unit that goes on here as well.
I think it's fun actually to consider miniature costumes. You know,
(09:10):
it's not something that you think about that when you
talk about model miniatures. Not only is somebody crafted very
carefully this model miniature figure or figuringe. Whatever, but then
somebody else is sat there and very carefully measured up
and stitched together a miniature costume. And so this is
a miniature, complete miniature Superman costume, and I think it
presents beautifully as well. It's a great piece.
Speaker 4 (09:33):
Would you say that the fabric is the identical or
similar fabric to the actual Chris Reeve full scale costume,
the waffle weave polymid type of material.
Speaker 5 (09:42):
Yes, yeah, I think that they've taken and probably as
much to ensure a color match as anything else. I
think they've taken off cuts of the original material. I
think certainly for the main tunic. The belt, interestingly enough,
is directly comparable as well to the main hero main
costume belts that we've seen, so that could well also
(10:03):
be the same material. I feel like this might be
slightly lighter in fabric to the to the main cloak.
I think perhaps to allow for movement. Of course, this
will be a flying miniature, so it would have been
long shots as it's sort of flying across, so I
think that this is probably slightly lighter. But they've got
a really good color match. You know, when you see
the two close together.
Speaker 2 (10:24):
As a guy that has an Ursa costume and Non's boots,
you know, I've been eyeing up that General Zod wig
and General zod boot. But this in a year that
we just lost Terren Stamp sadly real Superman history here
Superman two.
Speaker 5 (10:39):
Yes, yeah, from Superman two. And I think it's fair
to say, unless you've watched some of our interviews previously,
you might not even be aware that a lot of
instances the actors do wear wigs. You know, it's not
their real hair. We've had Christopher Reeve, both Clark Kent
and Superman wigs in our prior auctions. This is the
first time I've actually handled the Terran Stamp wig. What's
(11:01):
really nice about is it that it comes with its
original box, So this is a Whig Specialties box. Wig
Specialties is the company in the UK that did a
huge amount of wig work for films during this period.
So I've seen these boxes not only for Superman content previously,
but also for films like Star Wars as well. The boot,
we only have one boot. While we only have one boot,
(11:22):
I can't really answer that question how they got separated,
the hall A pair got split. But again we've got
the influences of that three M that sort of reflective
material that's been used within the boots as well. There's
actually a very very deep sort of burgundy, deep red
hue within this which does catch the light just slightly.
It's got a very heavy black tinto it, but you
(11:42):
can see it reflecting from time to time.
Speaker 4 (11:44):
You can really see that red in Zod's costume when
he and the other two villains land on Earth in
Superman to the Theatrical when he lands in the water.
Speaker 5 (11:54):
And so when they're landing on Earth. Is that because
you're seeing it within natural light rather than studio light,
that you're getting to see more of that reflecting and
bouncing off it.
Speaker 3 (12:01):
I believe.
Speaker 2 (12:02):
So, yes, you have a blue it appears to be
a blue script there in front of you, and there's
some history there and a polaroid that has never been
seen before, So.
Speaker 5 (12:13):
This is a script from Superman one and Superman two.
It also has a number of pages of storyboards within
there as well. I think also as part of the
lot there's some cool sheets. So it's a really nice
collection of e femera. But just buried with the within
the paperwork and the folder is this wonderful polaroid that's
just sitting down at the front here of Christopher Reeve
(12:36):
looking a little bit worn out. It looks a little
bit tired out there, and he's catching a few z's
when he's got a finement off camera. That chair doesn't
look too comfory that he's slumbered in either, So, yeah,
making the most of a break, I think by the
looks of it.
Speaker 4 (12:50):
And there appears to be a pole connected to the chair,
and I think it might be for a light for
him to be able to sit there and review the script.
Now Chris Reeves chair, which I have in my office
as a script box. You could request a chair with
or without a script box, and he wanted one with
so I assume that's for reading. Since he was in
(13:12):
the dark. If you look on the far left edge
of that polaroid, you'll see what looks like a big
chunk of aluminum foil of some kind. And I do
believe that might be a break he's taking from filming
the San Andreas Fault underground repair sequence.
Speaker 5 (13:28):
Yeah, and actually that would sort of tie in. I mean,
it is difficult to see because it is quite a
dark shot, but he looks quite dirty, you know, literally,
as in his costume looks distressed with dirt, so that
that would tie very nicely to the sort of scene
that you're talking about. That's the likely shot that he's
just either sort of preparing for mentally one way or another,
(13:48):
or just having already shot the worn out from it.
Speaker 3 (13:51):
Now.
Speaker 4 (13:51):
This material was owned by Mike Fox, who was a
camera operator on the film.
Speaker 5 (13:57):
I won't open this because it's some of it's quite loosely.
It's obviously very old paper and it's quite delicate, but
I think it's signed on the front cover by Mike
as well.
Speaker 4 (14:05):
There's also a piece of official Superman the movie stationary
in there, and it's blue with a very beautiful foil
red and yellow sh shield in the corner, and that
was used by the producer's director, Christopher Reviews that I
guess anyone on the production could. But it's dated twenty
(14:26):
eight October nineteen seventy seven, the day the film wrapped,
the day they had the wrap party at Pinewood, and
it's signed by Ilia s Alkind and Pierre Spangler to Mike.
So that was a very nice gesture that they've basically
written him a thank you letter.
Speaker 5 (14:40):
Yeah. I love that actually that they produced that headed paper.
You know, there were a few productions during that period
that we're doing it, but it sort of emphasizes just
how significant this film was as a production.
Speaker 2 (14:51):
I mean there were branded Christmas cards too that had
been on prop store before that. They really went all
out and something that you'd you know, I guess now
and companies do digitally or films do digitally with what
they call social media assets. But for a film like
this in seventy eight, I mean, it had all the
bells and whistles that you know PR Department would want.
Speaker 4 (15:10):
Tell us about that beautiful, well used clapperboard. I love it.
Speaker 5 (15:14):
Yeah. What I love about this is that, you know,
I would certainly call this the main unit capable because
it's got Richard Donner's name on it. It may well
be in that it's been used for other applications. But
when you actually lift this up and sort of hold
it to camera and maybe we can get some of
it there, I mean, there are layers and layers of
tape on this, so as they go through the filming process,
(15:38):
instead of sort of tearing it off and starting from scratch,
they just lay it up the next layer with the
next date on. It's probably written on by an assistant
and they get stuck on in the morning before they
start the cameras rolling. Of course, at this stage those
glues have hardened you're not going to peel it back
and sort of be able to see every date. Some
of the excess tape is sometimes laid up on the back,
(16:01):
so that's why you've sort of got a see here.
So at some point the sea would have been on
the front. And what we've also got here is a
run of notes which refers to the amount of footage
of film that was being used for specific shots as well.
Film is expensive, I mean it is expensive, and so
it's an important thing to keep track.
Speaker 4 (16:18):
Of, especially in this case considering that Richard Donner shot
over a million feet of film.
Speaker 5 (16:23):
There's a number a million feet. I wouldn't want to
be an editor to edit in feet of film.
Speaker 2 (16:30):
Do we know Stephen a clapper boarder like that? Price Wise,
what are we looking at here? We haven't really gone
over too many prices, but we know everything's on the website.
Speaker 3 (16:38):
But what do we know?
Speaker 5 (16:39):
Yes, this has an auction es some at about fifteen
thousand to thirty thousand dollars, so some of the reason
of about ten thousand pounds. Of course, the auction is
taking place in London, and so we've we're sort of
running an approximate conversion there for you. But some of
the reason of about fifteen thousand dollars.
Speaker 3 (16:56):
Behind you is a Superman tunic. Tell us about that.
Speaker 5 (17:01):
So yeah, the wonderful tunic that you can see behind
me is from Superman. Three beautiful vivid colours to this,
I mean, it's really Chris, really sharp, very little sort
of degradation to it. This is one that came out
of the Warner Brothers archive. It has a Warner brother
certificate that accompanies it as well. And this would have
(17:22):
been used for harness work. That actually has a slit
fabricated into either side here, which would allow it to
work around the harness rig that would sit underneath this
and then clip obviously on the outside of it, and
then across the shoulders. Here we have the very distinctive poppers,
which of course would match up and marry up nicely
to the cake that we have on display as well.
(17:45):
But it's a really really nice example. I just love
just the way the colors on that.
Speaker 4 (17:49):
Pop beautiful example, and the reds and yellows are intact,
and it appears that there really aren't any flaws at
all in the fabric itself. It's one of the best
looking to I've seen.
Speaker 5 (18:01):
It's glorious, really glorious displays well as well, doesn't it
looks great in that case?
Speaker 4 (18:05):
Oh, it really does.
Speaker 2 (18:06):
We'll wrap up with what is a beautiful keep, A
walking keep from Superman and Stephen tell.
Speaker 5 (18:13):
Us about this. Yes, so this is from Superman three,
is stated and labeled on the inside of it has
a Christopher Reeve name and then the date nineteen eighty
two as well. I think it also states walking as well,
and the reason for that is the capes were used
for a multitude of different applications. So again a really
(18:35):
wonderful example. It's in great condition, very very little rare
or degradation to it at all. That the colors holding
up beautifully. We've got the wonderful patch that's been applied
here as well. I don't think we've screamatched it to date,
but maybe it's something that might be done in the future.
Speaker 4 (18:51):
Right, And it has all four snaps or poppers intact,
and of course the two straps that are sewn on
which went under his armpits. So this is really really
a beautiful example. And you know, by the time Superman
three came along, they had really nailed down the process
of producing these and sometimes they were repurposed. It doesn't
(19:15):
appear that this one was since it just has one
date on it.
Speaker 5 (19:18):
You can see the way it beautifully hangs on the mannequin.
You know, it's not like we spend a lot of
time dressing this. As you say, by the time they
got to Superman three, they really nailed it. But you know,
you can see that this is actually all stitched into
shape here. You know, this is the folds that have
been sewn into this to create that. There's a lot
of thoughts. So not only does it have the poppers
(19:39):
to match up to the tunic that we see there,
so it holds it perfectly aligned and in place, but
it's also stitched to give the perfect fold effect on
the back of it as well, which I think is ingenious.
Speaker 4 (19:49):
Some of the very early capes back in the Dinner
years did not have yellow creeping out of the black,
which typically tells you it's some of the first capes
that were ever made. If it doesn't have yellow, this
could have been a repurpose cape from the earlier days.
But now this more than more than ever, convinces me
(20:10):
that it was made for three.
Speaker 5 (20:11):
It's unusual for a sort of a just a part
component of a costume to present as well as a cape.
Does you know? It just it's sort of it's all encompassing,
isn't it. It just it says everything about it and
you could easily just have that as a centerpiece for
a collection without the rest of the costume, and it
just pops immediately.
Speaker 4 (20:28):
It's beautiful. It's my favorite piece in there, although that
starship is it's calling to me a little great here.
Speaker 3 (20:34):
It's pretty great. Well, listen for people that don't know.
Speaker 2 (20:40):
The Prop Store auction is happening December fifth through seventh.
In addition to all the great Superman things we've shown
you on the Cape Ponder Superman podcast today, you have
so much great movie memorabilia and all different and Steven
said it earlier, different price points and different types of props,
and even animation this year.
Speaker 5 (21:00):
Steven, Yeah, we got animation art for the first time
as sort of a key category or cool cashgrew within
the auction. So we've offered animation arts in the past,
and there are some Superman related animation art cells in
there as well, So if you guys haven't picked up
on that and haven't checked them out, they are in there.
Speaker 4 (21:17):
Well, one of my favorite lots that we haven't discussed
is the lot of Kryptonian costumes that Evon Blake designed,
and so you've definitely got to get on the website
and check those out because they're really really unique and
one of them looks like a white Christopher Reeves Superman tunic,
So definitely check that out.
Speaker 2 (21:35):
I'll leave you with this, Steven, and just for the
good work that you do and kind of the story
behind some of these props. But I was fortunate enough
just a couple of weeks ago to be in Cincinnati
for the Pop Expo, and you know, to see Jack
O'Halleran and his non boots reunited, and to see Mark
Pillow and his Superman four costume reunited, and to see
(21:57):
Sarah Douglas and her Ursa costume reunite. All at this
at this comic con, they were such showstoppers. People walk
by and you know, they see the star from their film,
but it's the costume that connects them to the film
first and foremost. In twenty twenty five, and to see
the amount of people that photograph themselves and selfied with
(22:20):
these costumes because of the nostalgia that it brings back,
and how excited they were to ask is this a cosplay?
Speaker 3 (22:28):
Is this real?
Speaker 2 (22:28):
And like, you know, this is the real deal, and
then to have you know, Sarah or Mark say no,
I wore this. Those are really special moments that sometimes
people don't get to experience. So when you see that
in person and how fans react to it, you see
why people attach themselves to the objects and the props
and the costumes from their favorite movies no matter what
the film is, because it just brings you back.
Speaker 3 (22:50):
It's the instant time machine.
Speaker 5 (22:52):
I mean, it really just takes you back to a
moment in time, doesn't it. For a lot of people,
it would have been when they were sitting in the
cinema watching it in nineteen seventy eight the first time,
and it's like an immediate flashback to it. And I
think you know a lot of collectors who collect these
sort of artifacts. They might start with things like toys
and autographs, which you know, are obviously very closely related
(23:14):
to the production, but there is a very different and
almost tangible connection when you're really getting up closer to
these things that have been on camera. And it was
just a great story to hear. Thanks Jay, I hadn't.
I wasn't aware that there was such a gathering of
original artifacts at one convention. That's that's really awesome. And look,
(23:34):
that's what we love. We love bringing this stuff out
for people to see. We love spending time cleaning, preparing, preserving, restoring.
You know, it's a big part of our philosophy that
these things should live on for other generations other people.
Speaker 4 (23:49):
I think it's really great that you're including an autographed
picture of Christopher Reeve with that tunic.
Speaker 5 (23:56):
Correct, Yeah, that goes with it as well.
Speaker 4 (23:59):
Yeah, as Christopher autographs are still so desirable today, and
that's I've never seen you do that, so that's wonderful.
Speaker 3 (24:05):
That's great.
Speaker 5 (24:06):
I think it's the collector who bought this from us originally.
He then actually went out to get a ten by
eight as best he could. It took him a while
to find it to go with it as well. And
I think it's a really nice still with a really
nice autograph on it as well.
Speaker 4 (24:19):
Well.
Speaker 2 (24:20):
Stephen Lane, it's always a pleasure to have you. We
look forward to the auction this year. We encourage our
Superman fans and friends to go and check out propstore
dot com, get yourself registered and at the very least watch.
It's so exciting to watch these pieces be auctioned live.
It's as exciting as buying them. And let me tell you,
it is a real thing to be a part of.
(24:40):
So we'll be watching and participating and December fifth through
the seventh we will be tuned in. Stephen, thank you
so much as always for being so kind and spending
time with really a lot of time showing us these
great artifacts today.
Speaker 5 (24:53):
It's been an absolute pleasure. I love this. I love
this gathering of the three of us annually to have
these conversations dives, which I don't often get to do,
so it's an absolute pleasure for me as well. Thank
you well.
Speaker 4 (25:04):
I'm very grateful for you, Steve, and I know all
of the Caped Wonder fans and Superman fans are as
well with you sharing all these hi Res photographs alone
are just magnificent.
Speaker 5 (25:14):
Oh the reference is there for everybody forever, so hopefully
everybody can get to enjoy it, even if you don't
want to bid and you don't want to participate, download
those photos and keep them safe.
Speaker 3 (25:24):
Very good, the great Stephen Lane, thank you so much.
Speaker 2 (25:26):
Thank you to prop Store, Jim, thank you and check
out the prop Store auction.
Speaker 3 (25:30):
Of this year.
Speaker 2 (25:31):
We'll be back again, of course with another great Keep
Wonder Superman podcast before the end of the year to
kind of recap some of the great things. But for now,
that's all we have for today. Jay Towers here in
Detroit and Jim, as always, stay super You've.
Speaker 1 (25:45):
Been listening to the Cape Twonders Superman podcast on the
iHeartRadio app. Jay Towers is a Detroit TV anchor and
morning radio host on one hundred point three w NIC Detroit.
Follow Jay on Instagram and Twitter at Jay Towers. Jim
Bowers is the founder and editor of Kapewonder dot com,
(26:05):
the home of Cape Wonder Superman imagery. Follow Jim on
Instagram at Cape Wonder and on Twitter at Cape Wonder
Jimm
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