The show’s first season begins with the death of a mother and ends with the burial of a father, with the middle filled in with what family members create. A very radical combo of Man of Steel, Smallville and Lois and Clark merges with the last 30 years of Superman comics into a meditation on the sustaining of the family unit from primarily two sources–the Kents and the Cushings (Lana Lang’s brood). The finale teaser for Season 2 shows the reconstitution of a third as a result of, appropriately, a rocket landing at the Kent farm. The CW-ish, almost-emeging-adult inside shows that the family dynamics have just begun to shift, with Lois being given one hell of a personal retcon of sorts and the boys gaining a sister (pun intended). Having Superman go to a mental-emotional space where he has to prioritize the world most important to him at the moment will continue to make him not only relevant, but even a more permanent part of American folklore.
The Male Principle and The Female Principle, grit and fierceness inner and outward.
Coming out of the 1960s into the 1970s, both pioneers filled with revolutionary consciousness, both using work to create new space for words to propel The Race forward.
Personal versus/and ideological.
But both understood the power of planting yourself within a role, and then being left to the never-ending, back-breaking, un-privledged, un-advantaged labor of pulling out your own weeds.
And, by doing that, creating your own eras.
“The only natural resource in the world that there is too much of: girls.” Because of the topic addressed, that line, uttered by the old-time Bond villain in this old-time-007-meets-Jason-Bourne flick, deserved a much more significant movie than this. At this point, the Marvel formula of drama-action-joke-repeat is irresistible to its shareholders, I’m sure, but it’s sad and a little frustrating to see such a good movie, led by a great star, subtly and not-so-subtly work against itself. When the accompanying (connected by Disney+) Simpsons short is only slightly more light than a serious, well-meaning film, it might be time for Marvel/Disney to re-assess after making the bank deposit.
This is significant because this move will now establish a national, 21st-century Black liberal journalism tradition. I just wanted to point out that this will not erase what award-winning journalism professor Allissa Richardson has written: that post-modern Black activism–symbolically represented now by Darnella Frazier--finds mainstream journalism irrelevant.
With the Black liberal J-wing on the way to being established, this allows a Black Left to do what it is doing now–to build itself as an alternative. In the olden days, the best Black newspapers held all views. Here’s a book on that.
And with Haiti in the news, here’s an example of the present and future:
And the below is an on-the-ground Haiti discussion from this morning’s ReMix!
Verdict: Much better than Joss Whedon (and I’m not by a long shot Snyder’s biggest fan; he thinks every superhero film is his Watchmen in disguise), but you should watch the chaptered film as a six-part mini-series. (Steppenwolf was actually a great villain! Who would’vethunk?!?) What was fascinating to me was how much the Black characters–Cyborg and his father–were the center of the story; Ray Fisher and Joe Morton are probably celebrating, and should! Worth the wait, and I hope this very dark universe will continue in episodic TV form on HBO Max. Superfriends overload? Never!
UPDATE: So it was supposed to be episodic TV, a mini-series, from the beginning of the HBO Max deal, but…..
A very fine article I found reminded me of the type of serious longform writing and print-era that, once I discovered it, shaped and fascinated me as a young newspaper reporter. The Village Voice and its crew, of which Stanley Crouch was a part, were in this great, fascinating NYC-centric, newsstand literary universe.
I was definitely not a fan of the content, philosophy or personal style of Crouch (who had left The Voice when I began to read it), but I was a fan of the idea of him. This act of remembering–published in one of the remaining traditional 20-centuryish places left for this kind of writing–brought back memories of a time long gone: of picking up The Voice at Newark Penn Station while on the way to or back from Harlem on an early 1990s Friday, all the while wondering what was possible for me and writing.
Later in the 1990s, embedded in graduate school, I was even more obsessed with The Writers’ Life. For example, I actually bought a transcript and video of the below because I wanted to absorb this discussion. (Not surprisingly, these writers–who were actually post-World-War-II-nouns, who wrote in the mid-20th century for a living–didn’t see that nonfiction and fiction were going to move en masse to the academy.) I succeeded: this 23-year-old talk has been almost completely memorized over the years and, as a result, it serves as part of my internal writing clinic when/as I write.
And for an activist success story, read this book excerpt by Lawerence Hamm and Annette Alston, courtesy of Jared Ball’s imixwhatilike.org.
Why these Carr-Hunter discussions are growing in popularity. Look how Dr. Carr links Chadwick to: a) Black playwrights, b) Black bookstores, c) Black protest, d) to Black cultural development. And then e) THOTH!
You were the most unheralded parts of my happy childhood absorbing Lee-Kirby!