Tag: Crisis on Infinite Earths

All The Beautiful Worlds

I would not describe myself as a big comics fan. I love them, still have a strong attachment to them and their characters, but I am hardly an expert–not even close.

I started reading comic books when I was very young–I remember all the iterations of Archie, Millie the Model, Little Dot, Little Lotta, Sugar ‘n’ Spice, etc.–and eventually moved into the world of super-hero comics (while still greatly enjoy the horror/suspense/mystery comics as well–The Witching Hour, House of Secrets, House of Mystery, Chilling Tales, etc.). I stopped reading them regularly when we moved out to the suburbs–they were harder to find in our little developing suburb when we moved there–and it wasn’t until we moved to Kansas several years later than I got back into comics again. I was always a DC kid; and the few years I’d been away saw some dramatic changes made to the DC Universe–trying to modernize and update them; the 70’s were a very weird time for Wonder Woman–and then, again, when I moved to California I stopped reading them again. A friend in college brought me around to them again, this time also introducing me to Marvel. When I moved to Houston, my nephew was really into comics, and so I started reading them again with him, and continued buying them for several years. This was post-Crisis and the first massive reboot of DC, so as I was going through the racks at a comics shop in Houston one day I saw The Sandman.

The post-Crisis reboot of DC had changed some of the comics, and the heroes (this was always my favorite version of Starman, Will Peyton) changed as well. But…I wasn’t prepared for The Sandman.

I’d never heard of Neil Gaiman before, but it was this comic book series that turned me into a fan. The incredible imagination involved in creating this bizarre mythology, of the Endless siblings who epitomized some aspect of the human experience–Dream, Death, Desire, Despair, Delirium, Destruction, Destiny–and of course, the main character of the book was Dream of the Endless, master of the Dreaming, where all humans go when we sleep, and he controls our dreams, creating both Dreams and Nightmares. The story line of “The Doll’s House” especially was fantastic and enchanting; it was one of the few comics (along with the Will Peyton run as Starman) where I went back and bought the back issues because I wanted to read them all. (I’ve also gotten some of the all-in-one collections of the stories, including “The Doll’s House.”)

I’ve always loved this comic run. and have always regretted never finishing it; I stopped buying comics before the series ended. The prospect of a film version never interested me much because I didn’t see how it could be done, plus it would inevitably be a disappointment; the comics were visually stunning, the characters and stories so layered and complex I didn’t see how any of them could be condensed into a two-hour film, and the expense of recreating the brilliant and beautiful images contained within the books seemed insurmountable. The announcement of a Netflix series didn’t inspire confidence; I didn’t care for, or finish, the adaptations of two Gaiman novels I loved, American Gods and Good Omens, which to me was an omen that The Sandman would be disappointing as well. I also wasn’t sure if Paul would like it, or that it would be so difficult to follow without knowing the source material he’d pester me with so many questions I wouldn’t be able to follow it myself.

Constant Reader, I couldn’t have been more wrong about anything as I was about The Sandman adaptation.

First of all, it’s very closely adapted to the comics, at least as how I remember them. My memory isn’t what it used to be, of course, and so I couldn’t really remember much about it other than he was Dream, aka Morpheus, and he was lord of the Dreaming and had six siblings. It was also kind of an anthology series, with stand alone issues as Morpheus visited human dreams or was forced to sometimes interfere with them. (I also always thought he looked like Robert Smith, the lead singer of the Cure) So as each episode unfurled before me, I would start remembering things. I remembered that out of all the Endless, Death was actually the kindest and most compassionate, who saw her job as necessary and thus wanted to appear as a kind friend and companion to the dead to ease them through the transition (I have always thought that was brilliant). I remembered the story of him being captured and trapped by humans, and that the Dreaming had been damaged and decayed by his absence and he needed to rebuilt his world as well as capture his creations who’d escaped into the Waking World…and of course, the appearance of the dream vortex which could have destroyed everything, and how that played out.

It is such an excellent adaptation that some of the scenes in the show are perfect recreations of panels in the books themselves; I found myself smiling in recognition, visually the scene in print as well as on the television screen before me. The show is also beautifully written and perfectly cast, from Tom Sturridge as Dream himself (I don’t know how he did the voice, but its other-worldly yet beautiful at the same time; one of the things I loved the most about The Sandman is how Gaiman made everything, no matter how terrifying or scary or steeped in fear, beautiful; beauty can also be terrifying and The Sandman expresses this better than anything I’ve ever seen or read before) to Gwendoline Christie’s chilling turn as Lucifer to Jenna Coleman as Johanna Constantine (a gender switch from the comics) to my personal favorite, Vivienne Acheampong as Lucienne. It’s a terrific cast, including an Emmy-worthy supporting turn by John Cameron Mitchell and of course, break out star Boyd Holbrook as the Corinthian.

I highly recommend it; its smart and funny and clever and intelligent and beautiful, the set and art design and costumes are first rate–and the cinematography is breathtaking.

I absolutely loved it, and so did Paul–who watched in utter spellbound silence and didn’t ask a single question.

I cannot wait for season two.

(Oh, and the show is queer and gender-bending AF, for the record.)

Working Overtime

FRIDAY! Today I am taking what we can a personal day, or a Mental Health Day, or whatever you want to call a day when you really have a lot to do at home–chores, errands, writing, cleaning, etc.–so you dip into your dwindling supply of paid time off and snag some hours so you can get that shit done. It’s gray again outside this morning, and the sidewalks wet with a fractional amount of standing water in low places, so I am not really sure what the weather is actually like outside. Yesterday the high was 78–insane for late March, which doesn’t bode well for summer when it arrives in a few weeks (yes, summer is usually here by mid-April)–and I haven’t yet checked today’s weather. The gray cloud cover, however, kind of says it all, really.

I finished off a journal last night, filling the final few pages with thoughts about the current book, what I need to get done with it, and how precisely I want to get that done. Time is, of course, slipping through my fingers, as it is wont to do, and the extended deadline expires on Thursday of next week. Of course, it’s also Easter weekend, that is Good Friday and a paid holiday (thank you, deeply Catholic state of Louisiana), so I am debating whether to go ahead and get it turned in on Thursday, taking that nice long weekend to relax and recuperate from the exhaustion of finishing a book, or using that time to painstakingly go over the entire thing one last time….or desperately try to revise the end one last time. (I think we know what I am going to inevitably end up spending next weekend doing, don’t we?) I also need to get to the gym today later this afternoon.

I watched the Snyder cut of Justice League yesterday while I was making condom packs. I hadn’t wanted to for a number of reasons (four hours being the primary, to be fair, and I’m also kind of over “director’s cuts” of movies I’ve already seen; the few times I’ve watched these kind of things they never seemed to improve the original movie that much, or made a significant amount of difference to the film that warranted a rewatch; I’m afraid I’ve been burned that way a few too many times to be much interested in ever viewing a director’s “personal vision” yet again…but then, I realized yesterday, this was different–the movie I watched was patched together, rewritten, and reshot to create an entirely different film; so this Justice League would have some similarities to the movie I’d watched and mostly forgotten, but wouldn’t be the same film), but yesterday I thought well it’s four hours, watching this will save me the chore of having to decide what two movies I want to view while I am doing this, and so, with no small amount of trepidation, I queued the movie up and hit play.

Four hours later, as the end credits rolled, my first thought was wow, Warner Brothers really shit the bed by bringing in Joss Whedon to make that piece of crap instead of just releasing this.

DC Comics was my jam when I was a kid; I move on to DC from Archie Comics and never looked back–although I am very fond of Archie, even watching the first few seasons of Riverdale and absolutely loving The Chilling Adventures of Sabrina–and even though I eventually came around to include Marvel in my super-hero reading, I’ve always had a special place in my heart for DC–how can you go wrong with Superman, Batman, and Wonder Woman? DC changed over the years–the transition from the old school heroes in an attempt to modernize them all in the 1970’s had mixed results (I can’t be the only person who remembers that Wonder Woman gave up her powers and became mortal for a while in the early 1970’s?); but the 1970’s also meant a move toward more realism in the way the characters were drawn, and an attempt to make them more three-dimensional and human. (Oliver Queen’s Green Arrow is the first DC hero to be drawn hyper-realistically; I distinctly have a memory of Oliver standing at a mirror with his shirt off–and seeing not only nipples but a navel and some curly body hairs and defined muscles). DC rebooted their entire universe in the 1980’s with Crisis on Infinite Earths, which was an epic undertaking, and kind of brilliant–getting rid of, for example, the Kryptonian super pets like Krypto, Streaky, and there was even a super-horse, if I remember correctly; they also got rid of the myriad rainbow colors and types of Kryptonite and only keeping the deadly green–my favorite was always red, because how red Kryptonite affected Kryptonians on Earth was unpredictable and never the same…which meant it could also always serve as deus ex machina to explain away strange, out of character behavior, like Superman or Supergirl or Superboy–who had his own comic series as well: “oh, I was exposed to red Kryptonite”–the effects only last, I think, for forty-eight hours.

Anyway, I’ve always rooted for DC Comics and its adaptations–loved, for a while, The CW’s series with lesser known heroes, like Green Arrow and the Flash and Batwoman. I even like the Brandon Routh version of Superman in Superman Returns. (Green Lantern starring Ryan Reynolds was enormously disappointing; I loved the Lantern Corps, I also love Reynolds, but the whole thing was just a big mess.) I enjoyed the first rebooted Henry Cavill as Superman movies (questioned the casting of Ben Affleck as Batman, to be honest) but I also agreed with critics who felt those films were missing something at their core; they came very close to getting Superman right but didn’t quite get there. And while this version of Justice League clearly fucks with the continuity of the DC Universe–particularly with Aquaman–I would strongly suggest Warner Brothers use this movie as the template for the Universe moving forward and just ignore those continuity errors. Joss Whedon definitely did both Ray Fisher and Ezra Miller dirty in his revision; the parallel difficult relationships between Flash and his wrongfully imprisoned father played against the antagonistic relationship between Ray and his father are really at the heart of the film, and give it an emotional depth and complexity that the Whedon version truly lacked. The Whedon plot merely served as a device for action scenes and explosions; the Snyder film actually has a plot, fleshes out the characters of the heroes more, and is truly an epic on the grand scale of the Richard Donner Superman films of the late 1970’s/early 1980’s–not an easy feat.

And can we just give the Amazons their own movie already?

I went into it skeptical, and when it was finished, was absolutely delighted to have had such an enjoyable experience that I didn’t even once notice that it was four hours long. And yes, I get that could have been a problem for a theatrical release, but outside of some things at the end–the dream sequence for Batman–I really can’t think of much that could have been cut from the running time. I also liked that the movie ended with the Darkseid cliffhanger, and the permanent establishment of the team. I don’t know what they are going to do from here out–I think both Ray Fisher and Ezra Miller are out, as well as Affleck–I don’t really pay much attention to casting news and things like that, nor do I care enough to go look it up, but it’s a shame. Both were perfectly cast, and while I can also see some issues with Miller anchoring a Flash film, I think he had the charm and charisma to pull it off if he had a great script.

And on that note, my errands and chores and writing aren’t going to do themselves, so I will talk to you tomorrow.

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.