It’s never a bad time to watch some clips of one of my favorite actors at work.
I can’t even talk about whatever Henry Cavill is wearing in the upcoming Man of Steel movie that he’s trying to pass off as a Superman costume. It’s actually worse than Brandon Routh’s from Superman Returns. Is it really so hard to get it right? The lady dancing with Michael Jackson in this clip from a 1979 episode of Midnight Special comes closer to the real deal than Cavill and Routh on their best day. This is back when movies had legs — rather than playing for a few weeks and then showing up on Amazon as a Blu-ray special edition, so it’s likely that the first Christopher Reeve film was still in theaters.
I just watched the seventh season finale of the new DOCTOR WHO series, which featured a cliffhanger ending that (obligatory spoiler warning) introduced John Hurt (Alien, Nineteen Eighty-Four) as the Doctor. At that point, my wife turned to me and said, “If this old guy is the new Doctor, you’re watching this show on your own from now on.”
So, John Hurt is the Doctor, except he’s not really the Doctor. I suppose the main character does change faces and personalities every few years, so it shouldn’t surprise me if he also appears to suffer from dissociative disorder. He sort of reminds me of Prince in the 1990s after he changed his name to an unpronounceable symbol and referred to his former self in the third person. Perhaps the finale would have played out better if it had actually featured Prince.
(PRINCE holds CLARA tight but suddenly reacts with horror when he glimpses a figure in the distance.)
CLARA: Who’s that?
PRINCE: Never mind. Let’s go back.
CLARA: But who is he?
PRINCE: He’s me. There’s only me here, that’s the point. Now let’s get back.
CLARA: But I never saw that one. I saw all of you. The Dirty Mind you, the Purple Rain you, the Parade you, the Sign o’ the Times you…
PRINCE: I said he was me. I never said he was Prince.
CLARA: I don’t understand.
DOCTOR: Look, my name, my real name, that is not the point. The name I chose is Prince. The name you choose, it’s like, it’s like a promise you make. He’s the one who broke the promise.
PRINCE Clara? Clara? Clara!
(PRINCE has a bodyguard pick up Clara in his arms.)
PRINCE: He is my secret.
NOT PRINCE: What I did, I did without choice.
PRINCE: I know.
NOT PRINCE: In the name of peace and sanity.
PRINCE: But not in the name of Prince!
(PRINCE’s bodyguard carries Clara and Prince away. The figure turns around to introduce Jamie Foxx as O+>).
I’m a fan of Pieta-inspired comic book covers, but this issue of Lois Lane is one I hadn’t seen until recently. Whatever twisted meaning you might wish to interpret is your own business, but Bob Oksner’s cover is one of my favorites of this theme.
This is a photo of Michelangelo’s Pieta. I had the chance to see it at St. Peter’s Basilica in 2011, and much like David in Florence or Venus De Milo in Paris, the sculpture is almost overwhelming in person.
The Pieta depicts Mary cradling the slain body of her son (“Someone Christ, King of the Jews”). However, it’s not surprising that the male-dominated comic book industry tends to focus on men holding limp female bodies (and occasionally a limp male body).
Back in 1997, my friend Edie told me that her favorite albums were Beggars Banquet by the Rolling Stones and Little Earthquakes by Tori Amos. I immediately bought both albums because that’s the sort of thing a 23 year old does when an incredibly hip 35-year-old woman from Brooklyn gives him insight into her music tastes.
Beggars Banquet remains my favorite Rolling Stone album, and I often think of Edie whenever I hear “Parachute Woman.” It sounds like it was written for her — even if she was only six at the time.
Edie was almost 30 and older than Amos herself when Little Earthquakes was released. It intrigued me that hte album had cross-generational appeal. The video for “Silent All These Years” was an unavoidable MTV “buzz clip” in spring of 1992. Tori didn’t register with me then, but I was hooked on her voice as soon as I listened to the album in full five years later. So, thanks, Edie.
My favorite Tori Amos song is actually not on Little Earthquakes, though. It’s a single she recorded with electronica artist BT called “Blue Skies.” It, along with “Parachute Woman,” has turned up on more than a few mix tapes/CDs I’ve made in the 15 years since that first conversation with Edie.
I lost touch with Edie a few years later (in those pre-Facebook days), but wherever she is, I’m sure she’s “laying a solid rhythm down.”
The upcoming George Zimmerman trial would be amusing, if not for the fact that it centers on the senseless death of an unarmed kid.
Defense lawyers for George Zimmerman, who is charged with second-degree murder in the killing of Trayvon Martin, will be barred from mentioning Mr. Martin’s marijuana use, fighting or high school suspension during opening arguments in Mr. Zimmerman’s trial, which begins June 10.
At a hearing in Seminole County court, Circuit Judge Debra S. Nelson denied a string of defense motions Tuesday that sought to portray Mr. Martin as a troubled teenager with a propensity for fighting and an interest in guns. Prosecutors argued that the evidence has nothing to do with the seven minutes that led to Mr. Martin’s death on Feb. 26, 2012. Mr. Martin, an unarmed 17-year-old, was killed by Mr. Zimmerman, who said he shot him in self-defense.
Mark O’Mara, a lawyer for Mr. Zimmerman, argued in court that Mr. Martin’s drug use could have made him more aggressive and paranoid, traits that could have prompted him to attack Mr. Zimmerman.
This is bad comedy. As others have pointed out, there’s a difference between the use of marijuana and being a deranged junkie, which is how Zimmerman’s defense wishes to depict Martin. Junkies tend to not run benign errands for family members. It’s usually a miracle to get them off the couch.
Also, it requires more guts than shooting an unarmed teen to argue that the dead kid is “aggressive and paranoid” when you’re the one pursuing a stranger with a concealed weapon.
O’Mara claims that Zimmerman was “put in a position” to kill Martin while all logic and reason makes it clear that Zimmerman was to one who put Martin in the position to die.
Posted by Stephen Robinson on May 28, 2013 in Social Commentary
Tags: George Zimmerman, Trayvon Martin