What Books Has Steve Nison Written About Trading?

The way I see Bucky's betrayal of Steve is heartbreaking because it wasn't a choice in any moral sense — it was stolen from him. In both the comics and the films like 'Captain America: The Winter Soldier', Bucky was captured, physically altered, and psychologically broken down. HYDRA (or Soviet handlers, depending on the version) wiped his memories, reprogrammed him with trigger cues, and trained him as a living weapon. So when he turns on Steve, it's less about malice and more about a conditioned response: he literally isn't himself. I still get chills thinking about the scene where his eyes glaze over and he becomes the Winter Soldier; the jump between who he used to be and the assassin he's been made into is brutal. Beyond the tech and the brainwashing, there's a human layer that always gets me. Bucky's whole identity was erased and replaced with a set of orders and survival instincts. Sometimes he snaps out of it with flashes of who he was — a friend, a kid from the neighborhood — and that guilt and confusion only deepen the tragedy. In 'Captain America: Civil War' the fight between them is painful because Steve recognizes his friend beneath the conditioning and keeps trying to reach him, not punish him. The betrayal, then, reads as a violation of agency more than a betrayal of friendship, and that tension between forced obedience and buried loyalty is why the arc resonates so strongly with me.

The moment Steve stopped being just the cool kid and started being someone I rooted for was messy and kind of perfect. I binged 'Stranger Things' with my college roommate and we kept rewinding scenes where he fumbled through vulnerability — it didn’t feel staged, it felt earned. His arc from arrogant boyfriend to reluctant babysitter and then to full-on protector captures a redemption beat that writers and viewers both love. What seals it for me is the blend of swagger and sincerity. Joe Keery sells the charm and the awkwardness: the hair and the one-liners draw you in, but the quieter scenes — watching the kids sleep, steeling himself for danger — make you stay. The show leans into classic 80s hero tropes but also gives Steve a new spin: flawed, funny, and unexpectedly brave. On top of the character work, there’s chemistry. His platonic bond with Dustin is pure gold, and those moments of mentorship flip expectations. Add a baseball bat with nails, a few great comedic beats, and fans who love cosplaying his hair, and you’ve got a recipe for a character that sticks with people long after the credits roll. Honestly, his growth is the kind of payoff I keep coming back to when I rewatch the series.

Totally loved rewatching the beginning of 'Stranger Things' — in season 1, Steve Harrington is dating Nancy Wheeler. They’re introduced as the high-school couple archetype: he’s the popular guy with the big hair and she’s the motivated, straight-A student from a supportive family. Their relationship sets up a lot of the early social dynamics and drama, especially when Nancy starts questioning what she really wants and what’s happening around her. What I always find interesting is how that supposed-perfect pairing starts to crack as the weirdness unfolds. Nancy’s growing curiosity and eventual alliance with Jonathan highlight how their priorities diverge, and Steve’s initial arrogance slowly gives way to a redemptive evolution in later seasons. If you watch season 1 again, pay attention to the small moments — the way they talk, the pauses, and how the show signals that their relationship might not survive the upside-down chaos. It makes the later growth for both characters feel earned, which is probably why I keep going back to those early episodes.

I've been geeking out about old Marvel runs for years, and Steve Ditko's fingerprints are all over the 1960s Marvel house style — in ways that still surprise me when I flip through vintage issues. Broadly speaking, Ditko is most famously credited as the co-creator (with Stan Lee) of 'Spider-Man' (Peter Parker) and of 'Doctor Strange' (Stephen Strange). Those two alone are enough to cement his legacy, but his contribution goes much further: he was the primary designer for a huge chunk of Spider-Man's early rogues' gallery and supporting cast, and he gave Doctor Strange many of his surreal, mystic visuals. If you want a practical list of the big names commonly attributed to Ditko's pen and pencil work, think of characters and people who debuted in the early issues of 'The Amazing Spider-Man' and the early 'Strange Tales' Doctor Strange shorts. That includes villains like the Vulture, Doctor Octopus, the Lizard, Electro, Sandman, Kraven the Hunter, Mysterio, and the Green Goblin; plus key supporting characters such as J. Jonah Jameson, Aunt May, Gwen Stacy, Flash Thompson, and Betty Brant. Many sources credit Ditko with designing these characters' looks and personalities even when the scripts might have been by Stan Lee. He also drew and helped shape characters like Ned Leeds and other early cast members who populated Peter Parker's world. Beyond the roster, what's really fascinating to me is Ditko's distinct visual language: angular faces, off-kilter perspectives, the eerie, occult page layouts in 'Doctor Strange' that felt unlike any other mainstream comic at the time. After leaving Marvel, he went on to create fiercely individualistic independent work (like 'Mr. A'), but those 1960s pages are where his impact rippled through pop culture. If you want a retro deep dive, pick up early issues of 'The Amazing Spider-Man' and the 'Strange Tales' Doctor Strange stories — you can almost track the evolution of several major characters just by following his art across those runs. I still find myself studying his panel compositions when I want inspiration for dramatic framing.

I still get a little giddy thinking about flipping through original Ditko pages at a convention table — his line work has that prickly energy that makes you feel the ink. If you're hunting for a ballpark on 'how much', think in tiers rather than a single price. Smaller Ditko pieces—commission sketches, single-panel pieces, or later-period work—often trade in the low thousands, maybe $500–$5,000 depending on size, detail, and whether it's inked or just pencils. Full 1960s Marvel pages, especially early Spider-Man or 'Strange Tales' Doctor Strange pages, are a different beast: five-figure territory is common, and iconic splash/origin pages can push into high five-figures or even six-figures at auction when everything aligns (rarity, provenance, condition, and a hot bidding room). Condition, content, and provenance are the big levers. An original Ditko splash page with Spider-Man in a dramatic pose, intact margins, clean ink and a clear chain of custody is going to command way more than a trimmed, yellowed interior page with marginal repairs. Signed pages sometimes sell for more, but signatures can be tricky—Ditko was famously private, so signatures are rarer and sometimes raise questions of authenticity. Auctions at Heritage, ComicLink, and specialized comic art houses tend to set the highest marks; private sales and dealers can be better for bargains but expect lower prices than auction results. If I were buying, I'd ask for high-res photos of the whole sheet (including back) and any bills of sale, and I'd compare to recent auction results for comparable pages. If selling, get at least two reputable opinions and consider auction if your piece is a key Ditko Spider-Man or Doctor Strange page. And one last bit from personal experience: emotional attachment is real—so if you’re keeping it, price matters less than the joy of having a tiny piece of comic history on your wall.

Steve Martin has never publicly come out as gay, bisexual, or any part of the LGBTQ+ community—because he isn’t. He is known to be straight and has had relationships with women throughout his life. He was previously married to actress Victoria Tennant and later married writer Anne Stringfield in 2007. The phrase “come out” usually refers to someone revealing their sexual orientation, but in Steve Martin’s case, there’s no record or indication that he ever came out in that sense. If you’re asking when he “came out” in a different way—like debuting as a comedian or rising to fame—then that would’ve been in the 1970s. His big breakthrough came from his stand-up comedy work and frequent appearances on Saturday Night Live, where his absurd humor and physical comedy made him a household name.

As someone who follows political literature closely, I've noticed Steve Benen's books are primarily published by reputable houses known for their insightful commentary. 'The Impostors: How Republicans Quit Governing and Seized American Politics' was released by William Morrow, a division of HarperCollins. His earlier work, 'The Gorilla Style of Debate,' was published by Andrews McMeel Publishing. Additionally, Benen has contributed to collections and anthologies under various imprints, but these two stand out as his major standalone works. William Morrow tends to focus on political analysis, while Andrews McMeel leans toward accessible, engaging nonfiction. Both publishers have strong distribution networks, making his books widely available in both physical and digital formats.

As someone who devours both books and audiobooks, I’ve looked into Steve Benen’s works extensively. His sharp political commentary, especially in 'The Impostors: How Republicans Quit Governing and Seized American Politics,' is fantastic in print, but I was thrilled to find it’s also available as an audiobook. The narration captures his incisive tone perfectly, making it a great listen for politics buffs on the go. His other titles, like 'The Maddow Blog' collection, might be trickier to find in audio format, but platforms like Audible and Libby often have them. For those who prefer listening over reading, I’d recommend checking out major audiobook retailers. Steve Benen’s works are niche but impactful, and hearing his arguments voiced adds an extra layer of engagement. If you’re into contemporary political analysis, his audiobooks are worth the search—just don’t expect every title to be available. Some lesser-known essays or blog compilations might only exist in print or digital text form.