Pop Culture Gadabout | ||
Friday, November 29, 2002 ( 11/29/2002 07:13:00 AM ) Bill S. DR. MELFI SHOULD BE SO EFFECTIVE – After a year of therapy, Superman is terminating ongoing sessions w./ his specialist shrink, Dr. Strong. The latest issue of Action Comics (#797, “Superego”) shows our hero working through his Big Issues and reaching a character defining resolution. Happy to see this happening, myself. Last November, when our hero first started sessions, yours truly wrote the following pre-blog piece ruminating on it: In the end, it turns out that Kal-El’s big treatment issue predates the All-Out War: relating instead to his slaying of an alternative universe version of Kryptonian baddie General Zod. I missed that particular storyline – which sounds like it must’ve been written as a misbegotten attempt at making the character “edgier” – so I can’t really say if this works or not. Still, nice to see some closure on what I thought was a one-shot plot. But, as Dr. Strong herself points out, therapy is a true “never-ending” battle. And with this universe’s Zod waiting in the wings to unleash something horrendous on our hero, could be the Man of Steel will be visiting that couch sooner than expected. . . # | ( 11/29/2002 07:09:00 AM ) Bill S. ADDING TO THE ROLL – A new pop culture blog has just been added to the right: David Allen Jones’ smooth The Johnny Bacardi Show, which won this writer over by including the Kinks’ Great Lost Kinks Album in a list of Top Ten Albums That Aren’t On CD. That modest li’l collection of b-sides is a Gadabout fave (we found a German import CD of it a couple of years ago), particularly for its music hall opener “Until Death Do Us Part.” The import disc does not, unfortunately, include John Mendelssohn’s liner notes. Oh yeah, and I like the John Cale quote 'neath the title, too. # | Thursday, November 28, 2002 ( 11/28/2002 04:03:00 PM ) Bill S. AND THEY’RE ON SONY, NOT WARNER BROS. – Watching the pilot of BoP last night, I was amused to note that the producers used the same song to introduce sad teen Dinah as they did for a heartbreaking moment on this season of Smallville: Oasis’ “Stop Crying Your Heart Out.” The sound of mildly alienated American youth. . . # | ( 11/28/2002 03:09:00 PM ) Bill S. “YOU TRY FIGHTING THE FORCES OF EVIL WHEN YOUR BLOOD SUGAR’S LOW!” – Just my luck that the week I read in Entertainment Weekly that WB has given up on ordering additional eps of Birds of Prey is the week I finally get to see the show. Knowing a series’ days are numbered can’t help but color the way you watch it. The question "Is there anything they could’ve done differently here?" lingers over the whole experience. Birds is an attempt at doing for Gotham City what WB’s Smallville has done for the Superman storyline: make it appealing to an audience that could care less about comic book continuity while staying true to the spirit of the original source material. On the basis of last night’s rebroadcast pilot, I’d state that the show’s creators've only been partially successful at this task. The problem’s a matter of story timing: Smallville takes place in a period preceding Clark Kent’s emergence as the Man of Steel. It gives us a world where costumed heroes don’t exist yet. In New Gotham, though, the original Bat Guy has already come and gone; one of his protégés, Barbara Gordon, also has a history of wearing the bat mask. The existence of “meta-humans” is pretty much taken for granted, so the extraordinary is not given the same X-Files Lite treatment that’s been so effective on Smallville. Costumed superheroics aren’t easy to convincingly pull off on film. It’s why movies like the first Superman or Spider-Man devote so much screen time to events that lead to donning the costume. For us to accept a breathing spandexed being, we need to know the living person first. When you think of it, Smallville’s whole run is basically a build-up to Wearing the Costume. But BoP treats caped crusading as a fact of life, even as it tries to quick-cut through it. The pilot’s opening origin sequence offers snippets of shadowy costumed figures so brief that they’re uncomfortable and vaguely dorky looking. Whenever the series brings up those familiar comic book images, you can practically hear the show’s creators apologizing for ‘em. End result: a show that awkwardly straddles the conventions of TV and comic book storytelling. BoP tries to work this tricky act w./ pop culture wisecracking (at one point Huntress Helena Kyle sarcastically asks partner Babs if her “spider sense is tingling”), but it’s not enough. None of the series leads displays enough character to support their dialog. I’ve got no major investment in their comic book incarnations, so I’m not immediately bothered by the changes the writers have wrought in our three Birdies. Turning Dinah Lance into a teenager – instead of the more hardened bachelorette of the comics – makes for better contrast when you bring Helena’s Huntress butt-kicking into the frame. But making the latter a vaguely defined meta-human was a dubious decision, even if it does result in two neat shots of our gal’s eyes getting cat-like. From what we see in the pilot, at least, Huntress would work just as efficaciously as an ultra-skilled vigilante. As for the trio’s first adventure, it’s difficult squeezing in a decent antagonist when you’ve also got to pack three origins in an hour, so it’s probably not fair to make too much of the pilot’s rote Scarecrow-inspired villain. His prime function was to intro series Big Baddie, anyway: Mia Sara’s shrink Harleen Quinzel (who admittedly shows some promise), a villain so ruthless she thinks nothing of kicking a comatose henchman when he’s down. No morally confused young Lex Luthor here – Harley’s a villainess with teeth! I must say the show certainly looks good. Both setting & protagonists are visually appealing, and the whole thing moves at a brisk clip – not as swiftly as the Batman 'toons, but what-are-ya-gonna-do? By ep’s end, I found myself agreeably anticipating future entries, so long as they didn’t interfere with any of the “A” Shows on my personal playlist. Last night, for example, WB followed its opening prime time pilot repeat with a new ep in hour two. At my house, though, we switched over to The West Wing to see how Sam Seaborn was faring in his California candidacy . . . # | Wednesday, November 27, 2002 ( 11/27/2002 09:50:00 AM ) Bill S. WEB LIBS - Back in the late fifties, comedy writers Roger Price and Leonard Stern first came up with a concept that would revolutionize the publishing industry, Mad Libs. A series of short stories or essays with words removed and replaced by a grammatical descriptor, Mad Libs were sold as a party game; they remain available to this day and are particularly ubiquitous in road-side shops selling stuff designed to relieve Long Drive Tedium. As a game and phenomenon, Mad Libs are clearly of their time: an era when public education was really coming into its own. To even play it requires enough command of the English language to differentiate adjective from adverb, after all. The books were sold to all ages, but its optimal audience was probably pre-teen kids. We played 'em in my neighborhood in the early sixties, but their appeal was fleeting for my fifth grade crowd. There are only so many synonyms for “poop” (noun and a verb!) you can use within parental earshot. In these days of robot-generated text, Mad Libs seem a bit archaic. But just because a concept's outlived its entertainment value doesn't mean we won't use it here at the Gadabout. Without further ado, we offer our first poli-blog Web Libs: THE YAMMERINGS OF (plural noun): More proof (as if further was needed!) that being a good (noun) doesn't necessarily make you a(n) (adjective) pundit. Today, (full name) appeared before the press to (verb) our president's (adjective) campaign against the (pejorative noun) of the Middle East, Saddam Hussein.Okay, you say, but not all blog writing is entirely political. Some of it can be profoundly personal & autobiographical. To which we offer: THINK OF THE (plural noun)!: Drove to the Mall of (location) today. Took the little (term of endearment), of course, so naturally we had to visit Aisles of (plural noun), the little one's (adjective) store. Something about all those rows of (plural noun) brings a (noun) to my child's face. Because it was a weekday and most non-bloggers were at work, the mall was (adverb) sparse.But what about more left-leaning bloggers? IT'S ALL ABOUT (noun)!: More blather and (noun) from the Bushies today, (gerund) the Chief Executive's (adjective) plans for an Iraq adventure. We've written before about the (adjective) arrogance of the Illegitimate Presidency's plans for Hussein. But as the war drums (verb) louder, we still have to ask the (animal) hawks, “Where were you when (adjective) Reagan and his gang were working to install this (noun)?”And for the totally non-political, there's always this handy quickie entry: ALL APOLOGIES: If this writer has seemed a bit more (adjective) these past (number) days, there's a(n) (adjective) explanation. Recently, I gave up (gerund), and I really started feeling the withdrawal (plural noun). I may be unfit for (adjective) interaction, but that hasn't stopped me from blogging.# | Monday, November 25, 2002 ( 11/25/2002 02:34:00 PM ) Bill S. “THE DARK WIND BLOWS ON EVERYONE” – Gotta admit I was more than a little worried when I first read that PBS was paying for an American Mystery take on Tony Hillerman’s Navajo mystery novels. As a writer, Hillerman makes maximum use of a utilitarian prose style that could easily be flattened by filmmakers more concerned with sentimentally brandishing their p.c. credentials than telling the story. Turns out I needn’t have worried. Chris Eyre’s adaptation of Skinwalkers, the first Joe Leaphorn/Jim Chee mystery, nails both story and tone of this ultra-evocative police procedural series. Hillerman’s series follows two Navajo cops – close-to-retirement Leaphorn (Wes Studi) and eager beaver young cop Chee (Adam Beach) – as they investigate murders on or near the New Mexico reservations. Though both characters had appeared solo in a trio of books apiece, Skinwalkers is the first to feature ‘em collaborating. Eyre’s TV-movie does a nicely understated job capturing the tensions between these two strong-willed coppers and the thematic contrasts the two represent. Where most old/young dichotomies are typically played in a fairly predictable traditionalist/rebel split, Hillerman was inspired enough to reverse expectations from the outset. It’s Officer Chee who represents traditional Navajo values (in addition to his duties as a cop, he’s also studying to become a Navajo medicine man), while Detective Leaphorn is the man of modernity. When a trio of murdered holy men appears to have been murdered by “skinwalkers” (evil shapeshifters), Leaphorn can barely hold back his impatience at Chee’s suggestion that magical forces may be at play. When the two reach an archeological dig, Chee is initially unwilling to proceed onto the site because of the iconic symbols uncovered there. Yet both detectives, working two different sides of the case, still arrive at the same conclusion. That the mystery itself isn’t very complicated (most viewers’ll i.d. the killer early in the game as the only suspect not hostile to our heroes) doesn’t matter much. What’s much more fascinating is the way the murderer’s motives perversely mirror Leaphorn’s own nagging concerns about the spiritual beliefs of his people. Studi’s Leaphorn is the one who has to do the most traveling in this particular outing, and the actor does a marvelous job conveying his fierce intelligence and suppressed anger. Any mention of Hillerman’s work has to include the landscape, which often comes across as a stronger character than some of his sketchier suspects. Eyre does a strong job conveying the barren power of his story setting – a solitary smokestack is used to particular strong effect (ultimately providing the key to the mystery) – one of the tricks to effectively capturing this series. All told, a successful adaptation that hopefully’ll lead to further outings. I’d love to see how Beach’s Chee squirms through his on again/off again relationship with Alex Rice’s public defender Janet Pete; or Studi’s Leaphorn manages his wife’s deteriorating condition and his own uneasy retirement. Been some time since I was excited about a dramatic series on PBS (think the last ‘un was Prime Suspect). But there are at least eight more Leaphorn/Chee books out there, and I wanna see ‘em all now. # | Sunday, November 24, 2002 ( 11/24/2002 07:58:00 AM ) Bill S. SO HOW MUCH DID THOSE ENID DOLLS MAKE, ANYWAY? – Alan David Doane's blog sent me this weekend to a previously unseen 1997 Previews essay by Fantagraphics maven Gary Groth on the future of comics and creator-driven works. The obligatory digs at company comics seem a bit pro forma, but the basic point – that the future of the medium remains in the hands of strong individual creators, not in movies or merchandising tie-ins – remains valid. Still, I can't help wondering if Gary has a slightly different take on things ever since the movie version boosted Ghost World's book sales. # | ( 11/24/2002 07:54:00 AM ) Bill S. “I KNOW, BUT I DON’T KNOW” – With colder weather approaching, the Illinois season grows less hospitable to foam-covered Walkman headphones. And so this season’s round of Dog Park Tapes ends with one of the classics of the 80’s New Wave Era: Blondie’s Parallel Lines (Chrysalis). When the NYC popsters’ third disc was first released, it sparked a whole lotta controversy among fans who’d been following the group since its inception. First two releases were steeped in 60's girl group retro moves and B-movie storytelling: this ‘un took the band from the cultish hands of the Bomp! crowd and turned it into a real American pop group. The drive-in lyrics were largely replaced by apartment life relationship songs and disaffected plaints; the garage sound created by starting producer Richard Gottehrer supplanted by wall-of-gloss glamster Mike Chapman; Jimmy Destri’s fannish farfisa was exchanged for orchestral synths. And then there was “Heart of Glass”: a heretical discoid hit that drove pop-rock purists into apoplexy. Years removed from the battlelines of “Rock Vs. Disco,” Parallel Lines is the most solid elpee ever released by this gang of CBGB alums. Every cut is hook-filled and gutsy: listening to Deb Harry snarl her way through “One Way of Another” or coo about watching her lover shower, you can’t help but be seduced. Compare the stormin’ version of “Hanging on The Telephone” with the original timid version cut by the Nerves, and you’ve got a clear demo of what the power in power pop is supposed to sound like. In short, Parallel Lines is a quintessential studio pop work: catchy & smart & fulla heart. Blondie the Group would go on to release three more albums in the midst of their New Wave success – each one progressively spottier – than come back w./ a decent reunion in the late 90’s. But this is the group at its peak. All in all, a strong finish for the season’s Dog Walk Tapes. . . # | |
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