Tag: comics

Windows

It’s the eve of July 4th, and all through the house–not a creature is stirring (besides me and Sparky), not even a mouse! (Thank God. The lack of mice means Sparky is earning his keep. I’ve not even seen a flying roach in the house this year.)

Sigh.

I woke up feeling sinus-y this morning, with a bit of a sore throat and a runny nose. I took a Claritin a little while ago, which hopefully will clear this all up. One can hope, at any rate. I was tired last night when I got home, so was kind of useless for the evening. We finished watching Olympo, which picked up the pace significantly in its final episodes, and I’m not sure there’s going to be another season, although they did leave most everything hanging in the meantime, and there was a cliffhanger. I am also feeling a bit worn down this morning as I sip my coffee and Sparky climbs all over me and my desk. It’s going to rain this afternoon (and most of the day tomorrow, it looks like), and I have some errands to run after I get off work–so I don’t have to run any this weekend. We’re thinking about going to see Jurassic World Rebirth tomorrow (Jonathan Bailey and his slutty glasses are a big draw); and I must confess I’ve never seen anything Jurassic on the big screen. (We are also going to see Superman next weekend.)

I am hoping to get some rest this holiday weekend. I think my lethargy this week was a kind of hangover from the trip last weekend, despite having Sunday as a recovery day. I keep forgetting that I am older than I was and my body has already been through a massive trauma this year already that I am still recovering from as well. It was probably too close to the illness for me to do all that driving and exertion; but I’ve also never been that ill before so am not sure how long the recovery will take–or if this is the new normal. That’s the lovely thing about getting old without a user manual; you always wonder if something is a result of getting older and this is how it’s going to be for the rest of your life. I am hoping, at any rate, to do some writing tonight and over the weekend, finish reading the three books I am currently in process of enjoying, and pick out three new ones. I got the new Megan Abbott, El Dorado Drive, this week and it may hop to the top of the pile. My reading goal for the year is to reread a bunch of Gothics, read/reread some young adult novels, and get through the books in the stack on the end table in the living room before moving on to the top shelf of the left bookcase (who am I kidding, once I clear off the end table I’ll make a new stack on the end table). I also have a lot of other books from the past year or so that I’d like to get caught up on, but I don’t seem to read as fast as I used to, and I am not going on another road trip until October when I can listen to another book.

I hate not having the energy that I used to have.

And I have another infusion a week from Monday. Hopefully I am getting used to them, and the second won’t make me as tired and lethargic as the first one did. We shall see. I still need to go get lab work done before my next appointment with my primary care physician in August, and I need to figure out which of these bills I need to pay and which ones I don’t–I hit my deductible but am getting bills still, which is kind of confusing? One of the things on my to-do list is to get this all figured out. I just don’t want to pay anything I don’t have to, you know? It’s so fucking exhausting, you know? Heavy heaving sigh. But at least work today is going to be fairly easy; we have a light schedule so I can get a lot of my Admin work done and get things caught up for the end of the fiscal year. I do have to run some errands on the way home tonight–mail and a relatively minor grocery run–but after that, I am hoping to get the chores done and the house in some better semblance of order.

And on that note, I am heading into the spice mines. Have a lovely July 4th Eve, and I will most likely be back in the morning.

Nuno Gallego, formerly of Elite and now starring in OLYMPO

See You in The Funny Papers

Do the few newspapers that still do print editions even have comics pages anymore? For many years, that was the only part of the newspaper I would read. I’d page through the rest of the paper and read things that were interesting, but I stopped taking a physical newspaper back when the Times-Picayune ceased publishing daily, and only had an on-line subscription, which I cancelled when they published an article by editorial staff that was vile, disgusting, unAmerican, and nothing I could support anymore. I cancelled the New York Times because of their Trump coverage and the legion of crimes they’ve committed against the queer community for decades. The Washington Post also was cancelled because of bad reportage on queer issues (there’s nothing like having your life “both-sidesed”; because yes, the homophobic trash who think I shouldn’t exist have a right to be heard). I would never go anywhere near the Wall Street Journal or Forbes; actually, the best reporting in the country on politics and queer life comes from Rolling Stone and Vanity Fair, of all places.

Go figure.

Obviously, the last place I ever expected to run into queer representation on the comics page (Doonesbury added a gay character in the 1970s, and addressed AIDS with his death in the 1980ssssssss) was in a family comic strip.

On March 26, 1993, Lynn Johnston’s For Better or Worse began a short running story (I think it ran for two weeks; I could be wrong) in which oldest son Mike’s best friend Lawrence comes out to him, which starts a bit of an upheaval in both families, and spread out over several days in the paper.

Johnson wrote about Lawrence’s story here.

Whenever someone talks about how representation matters, I think about two things: this comic strip, and Ryan Phillippe playing gay teen Billy Douglas on One Life to Live around this same time.

I had seen queer representation before, of course; Billy Crystal as Jody on Soap, the eternally confused Steven Carrington on Dynasty, a show where no one even considered the possibility of bisexuality (which could have been an even more compelling story), and films like Longtime Companion and La Cage aux Folles and Victor/Victoria. But unlike those previous characters, most of whom were already adults. Billy on One Life to Live and Lawrence on For Better or Worse were teenagers–which definitely awakened ire in the homophobes and christians. Some papers refused to run this strip, which was incredibly moving and touching, as Lawrence and Mike come to terms with their friendship (nothing changed between them, just as Joey and Billy on OLTL remained friends), but he also had to deal with his parents’ reaction, the reaction of Mike’s family, and so forth. It all eventually worked out for the best–also like OLTL–and as I tore open the paper every day for those days this story ran to see what happened next.

I also kept thinking how much of a difference this would have made in my life when I was a teenager–both the show and the comic strip–which is why these kinds of things are important. No one on the homophobic “side” ever thinks about what it feels like to be a queer kid, constantly getting told (bombarded, really) that they aren’t normal, they are different, and therefore suspect. That’s why queer kids commit suicide at higher rates than their straight counterparts.

I can only imagine how much hate–and how many death threats–Johnston got for writing this series of strips. I always liked the comic–I also liked that the characters aged, grew, and changed–and someday I’d love to sit down with a collection of the entire strip, to catch up with the characters and see how they are doing now.

I also don’t think this comic strip gets enough credit for doing this, either.

Style

Friday morning, and I had an absolutely lovely night’s sleep, thank you for asking. It’s the final day of the work week, the weekend looms, and as always, I have a million and a half things to get done before Monday. I somehow managed to fall behind on the writing again–by the time I was finished with my work-at-home duties yesterday I was exhausted again–and as such, didn’t write another word. So I need to get my writing going again today, knowing I am at least two chapters behind that need to be caught up, and yes–NO PRESSURE THAT AT ALL, is there?

I have some copy edits for an essay that dropped into my inbox this morning, which shouldn’t be too terrible an issue to deal with over the course of the weekend–then again, I’ve not really looked at them, either, so it could be absolutely horrifying once I open the document–but again, I don’t see that I won’t be able to get caught up on everything that must be done this weekend. What I really need to do is make a to-do list; I’ve been meaning to all week and yet somehow have not managed to get around to it yet. Gah. But that’s the kind of week this has been; 2020, after dragging all fucking year, seems to have now speeded up time now that it’s coming to a close, continuing to prove itself to be a shit-bag of a year.

Given how much optimism we all had for 2020 and what we ended up receiving, I am a bit afraid of 2021, to be completely honest.

I did manage to get some things done yesterday, and I managed to watch Superman whilst making condom packs yesterday; the 1978 version with Christopher Reeve. I hadn’t seen the movie in years–I saw it originally in the theater and then watched again when it was on HBO in the early 1980’s–and wasn’t really prepared for the impact it would still have, many years later, on a rewatch. As I watched, my nimble hands breaking off condoms in groups of four and shoving them into little plastic bags, along with a packet of lube and instructions on how to properly use them, I found myself catapulted backwards in time and remembering the time period. The movie’s slogan was You will believe a man can fly and you also have to remember the late 1970’s was when films–and special effects–were changed forever after Star Wars and Close Encounters of the Third Kind. Superman was the acme of super-heroes; perhaps the most famous, the most loved, and possibly the very first comic-book hero with superpowers, and bringing him to the big screen with a huge budget and special effects to make it look like he actually had powers was a huge deal. It was a huge hit, set the stage for several sequels, and showed Hollywood that comic book heroes were big-ticket items–it can easily be argued that there would be no MCU, no Arrowverse on television, and no Batman movies had there never been Superman first. The first sequel was also a huge hit, but the franchise began to run out of steam with the third, and the fourth was misbegotten from the very beginning.

On this rewatch, Christopher Reeve was even more perfect than I remembered, and Margot Kidder, whom I always believed was miscast, actually fit the role much better than she had in my memories. But what made the movie work–just as how the Patty Jenkins Wonder Woman worked–was how Reeve, at that point a complete unknown whose biggest role had been on the soap Love of Life, fit the role like a hand in a glove. He looked the part, had the right body for the part, and he just was Clark and Superman–and the physical differences between the two different characters–entirely dependent on how Reeve held himself, stood, and his posture–I could see how you wouldn’t see one as the other. Obviously, there were some flaws–how on earth did Lois Lane afford a penthouse with that glorious view and patio deck on a reporter’s salary? How did reversing the Earth’s spinning turn back time so he could save Lois–and didn’t turning the clock back change a lot of other things as well? DC was still in its Golden Age–the Crisis on Infinite Earths reboot was still some years in the future–and so this film fits into that comic book era; they were trying to update the comics and giving their characters more of modern flare and new costumes for the most part at this time, before realizing their universe was so convoluted and confusing they needed to start over. This was the period when Wonder Woman had gotten rid of her powers; when Supergirl was poisoned, which led to her powers becoming unreliable and actually coming and going beyond her control; when two more Green Lanterns turned up on earth in addition to the original; and Green Arrow going more in a Batman-like grim direction.

But it was an uplfiting movie, putting a clear-cut hero on the screen, and it is to Reeve’s credit that he made Superman’s integrity, code of ethics, and kind concern for all humanity from a two-dimensionality to a fully fleshed out, completely believable character that you root for. The John Williams score was excellent, and it really was perfectly cast–I apologize to Margot Kidder for hating her performance for all these years. It was also interesting to see the New York of the 1970’s (passing off as Metropolis), and remembering the way the culture saw the city in that decade (the Cynical 70’s Film Festival has also done a really good job of this); in some ways the perception of New York hasn’t really changed much since then, but it isn’t the same city today that it was back then. It was, I think, in the latter half of the 1970’s that Hollywood began to turn away from the cynicism of the decade and began making movies with happy endings or that were more uplifting in general–Star Wars, Superman, Rocky–the melding of those polarities in film deeply influenced the films of the 1980’s.

And on that note, I am heading back into the spice mines. Have a lovely day, Constant Reader.