Top Five Big Damn Hero Moments: Clyde Langer (The Sarah Jane Adventures)

(Note:  I'm out of town at the moment without access to my Sarah Jane DVDs, so I can't grab any screencaps.  I'll add pictures to this post tomorrow.)

 

I still have a few more recurring new Whocharacters to give a Top Five to, but I figured I might as well get started on the spin-offs.  There’s a lot to love about Clyde; here are five good reasons (spoilers.)

Deducing the Slitheen’s Weakness (Series 1, Episode 2 – “Revenge of the Slitheen:  Part 2”)

Mr. Smith has been disabled just before he can tell our heroes what common kitchen ingredient can destroy the Slitheen, and Clyde, in his first rodeo with Team Sarah Jane, works out what it is.  He remembers how the Slitheen disguised as his teacher reacted to the cold chip sandwich he brought to school and, reasoning that bread, salt, and potatoes are too ubiquitous to be the answer, realizes that it has to be the vinegar.  Not bad for a tagalong!

Communicating with the Outside World (Series 1, Episode 10 – “The Lost Boy:  Part 2”)

I love Clyde’s spidey sense about realizing when something’s not on the up-and-up, but it does tend to get him sidelined by the villains, since he’s not too discreet about revealing his suspicions.  Here, he’s trapped inside an alien computer (never mind how that works,) and he still manages to help, mentally sending a message to the Jacksons’ computer so the others will know who the bad guy/computer is.  (Also, bonus points for correctly visualizing the layout of a keyboard.)

Finishing Off Odd Bob (Series 2, Episode 4 – “Day of the Clown:  Part 2”)

Yes – using laughter to destroy an alien that feeds on fear is super cheesy, as are the incredibly lame jokes Clyde tells to get the job done, but I love this moment anyway.  Maybe it’s because Clyde has spent a lot of time getting criticized for being a “class clown,” with people confusing levity for trouble-making.  In light of that, I like seeing him use this quality to save the day, and I love how pleased he is with himself about it!

Realizing the Truth about Gavin (Series 4, Episode 8 – “The Empty Planet:  Part 2”)

More of Clyde’s spidey sense.  Gavin isn’t the villain here, but Clyde gets that something’s up.  He notes the lack of kid-friendly anything at Gavin’s flat – from the absence of DVDs and video games to the “rubbish biscuits” (cookie) – and while Rani takes that to mean Gavin’s life is rougher than theirs, Clyde sees it as something more, which helps lead them to the truth of who Gavin really is.

Standing Up to Frickin’ Nazis (Series 4, Episode 10 – “Lost in Time:  Part 2”)

Yep, this scene again.  Sick of it yet?  Me, neither.  Not only does Clyde call out an officer who’s racist to him, but he also taunts the Nazis with his foreknowledge of their eventual loss and buys himself just enough time to escape them by making them think his superior future technology (ie, his phone) is a high-tech bomb.  Clyde Langer for the win!

Top Five Songs: The Origin of Love (MIKA)

At first, I had a harder time connecting with MIKA’s third album than I did his first two.  Not as many songs jumped out at me immediately.  On repeated listens, however, this is a very fine album with some excellent songs.  Here are my favorites. 

“Origin of Love” – The title track is an intriguing, romantic song, at once celebratory toward love and pushing back against those who would illegitimize it.  With the strong religious imagery and specific references to religious objection to this love, I tend to view it through an LGBTQ lens.  Not sure if that was the intention, but that’s how it resonates with me.

Best lyric:  “Like everyone that you fear / And everything you hold dear, / Even the book in your pocket. / You are the sun and the light, / You are the freedom I fight. / God will do nothing to stop it. / The origin is you - / You’re the origin of love.”

“Lola” – Such an infectious groove.  I love the lilt of the verses and the beat of the chorus.  The lyrics feel defiant, regretful, and wistful at the same time, and I like the (dubious?) resolution of this man, vowing that he’s “not gonna fall in love this time.”

Best lyric:  “When you find your love’s for real, / You’ll beg and borrow, cheat or steal, / Trying to get the money just to call her.”

“Stardust” – Even though this song is about a relationship that’s ended, it’s still so bright and upbeat.  Not all the time – I love the plaintive vocals in the line about his heart being left “on the floor” – but overall, it’s about someone who misses their love but doesn’t resent them, who thinks about all he would give them if they could be together again.

Best lyric:  “Funny how the time goes rushing by / And all the little things we leave behind. / But even any other thing I do / Is a little bit of me, a little bit of you. / When will I see you again?”

“Overrated” – I like this one a lot.  The verses are gorgeous, and the soaring vocals on the chorus make a simple expression of a universal pain cut to the heart of the idea, the retreats heartbroken people make to deciding love is overrated.  Really, the vocals are stunning throughout, really beautiful.

Best lyric:  “Words get broken - / Cut me open - / Love confound me - / Kill me quickly.”

“Emily” – Technically, I’m not sure if this is the original version of the song or if it’s the English version of the French “Elle Me Dit,” which is on the album’s bonus disk.  Either way, the beat here is fantastic.  Another rather plaintive subject, but it’s performed buoyantly, as a guy tries to get through to the oblivious object of his affections.

Best lyric:  “Emily, live your life in a balloon. / Lock yourself up in your room, / So the world can never reach ya. / Emily, am I speaking Japanese? / Got me falling on my knees, / Got me praying to Saint Peter.”

News Satire Roundup: June 5th

Sunday, June 5 – Trump’s enterprises have been sued 3,500 times.  As John pointed out, TV doesn’t have enough legal drama to cover that.  After adding up every episode of every Law & Order variation, he added other lawyer shows until he ran out, a great way to show how insane that is.  He also looked at Trump University, including tidbits from its skeevy “playbook” and a little on the judge who’s hearing the case, who Trump thinks should recuse himself because he has Mexican heritage (yeah.)  The main story on debt buyers continued the “slimeball” theme.  They buy old debts for pennies on the dollar and rake people over the coals to pay them, even if they’ve passed the statute of limitations, declared bankruptcy, or passed away.  Luckily, John is spectacular; he not only started a debt buying company to prove how disturbingly easy it is, he bought a bunch of debt and had nearly $15,000,000 officially forgiven at the end of the episode.

No Daily Show again this week.  One thing that I want to mention is that I really like how the show has covered bathroom bills and the issue of trans rights over the past couple of months.  I remember when the subject first came up on the show, I was a bit apprehensive; I hadn’t been overly impressed with what little LGBTQ-related stories they’d previously done (or with standup pieces I’d seen from Trevor dealing with LGBTQ people, honestly,) and while this was the first time I’d seen the show and/or Trevor talk about trans stuff in particular, I wasn’t sure how thoughtful the commentary or the jokes would be.

But really, I think they’ve hit it out of the park.  I love that they did an entire episode centered around trans folk, and their continuing coverage of the North Carolina situation, bathroom bills in general, and the Obama administration’s response has been excellent.  Every story they’ve done on this topic, for me, has been funny, informative, hard-hitting, and most importantly, very earnest.  The show is really standing with trans people here, and I’m glad to see that.

A lot of what’s sprung out of this continuing story is crazy and ripe for satire.  North Carolina suing the federal government when the DOJ tells them their law is unconstitutional?  And willing to lose billions of dollars of federal education funding over it?  A man who supports a law to discriminate against people appears on TV comparing himself to Martin Luther King, Jr., Gandhi, and Jesus?  That’s insane, and perfectly ridiculous.

But the show has made serious points as well, both with and without humor.  Trevor has addressed (and ripped to shreds) each of the various hyperbolic, fearmongering arguments against allowing trans people to use the bathroom that matches their gender identity.  “But how’s it supposed to work?!  It’s unnatural!!!”  (Progress is often uncomfortable at first, but it’s still the right thing to do.)  “So any man can say he feels like a woman and go into the bathroom to molest my daughter?!”  (There’s no correlation between being trans and being a pervert, and it’s not like perverts have been sitting on their hands waiting for a legal loophole they can use to their advantage – also, there’s never been a reported case of someone being molested by a trans woman in a public restroom.)  “But it’s absurd; why would anyone think this is something we should be doing?!”  (People once said the same thing about interracial bathrooms, and looking back on it now, you’d call that sort of forced segregation absurd.  Again, progress.)  He’s also brought up trans men – specifically, the fact that no one’s bringing them up in all their panicked, exclusionary rhetoric and the gross double standard therein.

X-Men: Apocalypse (2016, PG-13)

I’m still trying to decide about this movie.  I don’t think it was as good as Days of Future Past, and I think First Class was better-made, even though I think Apocalypse equals that one for entertainment value, or is at least close to it.  There’s some definite clunkiness amid a number of strong performances and a handful of stellar sequences.

In keeping with the franchise’s new tradition of jumping 10 years with every film, we’ve hit the ‘80s now (not that anyone looks any older, and no one but Mystique and Wolverine has explicitly-stated reasons for their perma-youth.  Also, at this rate, they have one film to go before Xavier and Magneto need to look like Patrick Stewart and Sir Ian McKellen again – is it just a switch that gets flipped one day?)  The Professor’s school is well-established and, after the events of Days of Future Past, mutants and humans are enjoying a time of relative peace.  However, a blast from the past – namely, an immortal, all-powerful mutant from ancient Egypt who positioned himself as a god – has just resurfaced to wreak major, world-ending havoc, and it’s up to heroes new and old to stop him.

Some of the action here is really impressive.  I love the big final battle, which finds a great balance between the various characters and their unique powers, and Quicksilver has another terrific speedster scene – I honestly can’t say which I like more, this one or the one from Days of Future Past (unfortunately, this is the only sequence in which the character really feels like the same Quicksilver.  I know it’s been 10 years, but it’s weird that he’d change thatmuch.  It feels wrong not to have him bouncing off the walls in most of his scenes.)  I love most of the casting for the new characters.  Sophie Turner (Sansa from Game of Thrones) makes an excellent Jean Grey, and the end of the film has me excited to see where things are going with her character.  Tye Sheridan does a nice job with Cyclops and, although Kodi Smit-McPhee is no Alan Cumming, he’s very good as young Nightcrawler, and he looks great.  Alexandra Shipp has all the makings of a wonderful Storm, but I don’t think she’s used very well here – I know I definitely wanted more from the story than I got for her.  All the old guard turn in good work, especially (no surprise) James McAvoy and Michael Fassbender.

The story, for me, is just all right.  Apocalypse is a little too “non-specified all-powerful megalomaniac” for me, and while Oscar Isaac (Poe from the new Star Wars) gives it his all, the script doesn’t give him much to work with.  Most of the newcomers’ storylines feel at least a bit shortchanged, and Magneto’s arc somehow feels both repetitive and unbelievable at the same time, which really shouldn’t happen.  Also, this is maybe a little thing, and I know there are lines in the movie to explain it, but it bugs me that Mystique and Beast spend so much of the movie looking like Jennifer Lawrence and Nicholas Hoult.  It feels disingenuous to the characters, like the film wants them more recognizable (especially J-Law) for monetary reasons; just didn’t work for me.

Warnings

Comic-book violence, swearing, drinking, naked Mystique, and thematic elements.

Relationship Spotlight: Matt Murdock & Foggy Nelson (Daredevil)

Realizing that Marvel has too much for me to only talk about in periodic write-ups, here’s a new regular feature:  Marvelous Wednesdays!  The MCU has a real way with depicting relationships between a superhero and their nonpowered friend.  Jessica and Trish, Steve and Bucky in the first Captain America, Peggy and Jarvis (although, in their case, the “super” part isn’t required,) and here, Matt and Foggy.  Much love for these two, who might get the deepest examination of this type of relationship.  Some Foggy-Matt-related Daredevil spoilers, including season 2.

The early episodes of the series quickly and clearly set up Matt and Foggy’s dynamic.  They’ve been through the trenches of law school together and are now ready to take on the world as defense attorneys looking out for the little guy.  They’re quite the “little guys” themselves; even though they know their stuff and aren’t afraid to mess with the big dogs, their operation looks decidedly ramshackle, what with their tiny, bare offices, their sole employee, and their zero dollars.  Still, they’re undaunted by what they don’t have and instead focus on what they can do.  Both give each other the sort of hard time that only best friends can, but both also know how to buckle down and give it their all when it comes to helping out someone in trouble.

However, Matt and Foggy are different from the other duos mentioned above in a key way:  at the start of the series, Foggy doesn’t know that Matt puts on a mask at night and fights gangsters.  He’s completely in the dark about Matt’s superpowers, and when he accidentally discovers the truth in the middle of season one, it’s rough.  He’s of course hurt by all the secrets Matt has kept from him, he’s naturally concerned for Matt’s safety, and he worries about the drive within Matt that makes him dish out such a brutal, self-determined brand of justice.  The revelations knock him over, and it takes time for them to get to any sort of good place again.

Even as Foggy struggles to reconcile Matt’s secret life, however, he can’t stop caring.  He gives Matt raw diatribes on how much his ever-present worry for Matt is tearing him up, but he still rushes in whenever Matt is hurt, dragging his bleeding friend home and helping to patch him up.  He puts himself in incredible danger at times to make sure Matt is safe.  Part of it is simply the depth of their friendship, but I imagine that part of it is also the fact that Foggy can’t shake the impression he’s developed over the years of Matt being slightly more in need of looking after.  Not that Foggy ever really patronized Matt or treated him with kid gloves due to his disability, but it’s clear in the little things that he’s accustomed to “helping out.”  Matt holds Foggy’s arm when they walk down busy sidewalks together, and Foggy frequently serves as his informal audio describer, filling him on visual details like someone’s facial reactions.  Although Matt’s powers essentially nullify his blindness and then some, I think Foggy’s gut still thinks of Matt as that guy, the one who needs an extra hand.  (In truth, I think any friend of a superhero would display much the same level of concern, but I think this particular detail gives the show more room to explore it.)

By the end of season two, I’m not quite sure where things will go moving forward with Matt and Foggy.  Their friendship has been put through the ringer, personally and professionally, and as much as Foggy still cares, he realizes he can over take so much of Matt putting himself in danger.  I hope things work out for our favorite avocados at law, and I suspect they probably will in the end, but it might be a long time coming.

I Know Why the Caged Bird Sings (1969)

I don’t suppose anyone needs me to tell them that this, Maya Angelou’s coming-of-age autobiography, is an exquisite book.  It’s gorgeously written, unflinchingly honest (I think that’s what boggles my mind most about the idea of writing about one’s own life – that nerve it takes to allow oneself to be so naked,) and at time sharply painful to read.  I couldn’t tell you why I never read it before now, but I also don’t think I’ve ever been in a better place in my life to recognize it for the masterpiece it is (some spoilers.)

The book paints Angelou’s life between the ages of three and seventeen, following young Maya from her early childhood in Arkansas to the North and West and back again.  The everpresent ugliness of racism permeates her experiences, as do the struggles of this young girl to discover who she is being forged to become in the crucible of extreme, cruel circumstances.  By degrees, she starts to understand what the world is, the place that people tell her she has in it, and the place she tries to carve out for herself.

Different elements are at play here, all employed tremendously well.  There’s stranger-than-fiction slices of life, like the story of a particularly charismatic worshipper whaling on the preacher in the middle of his sermon.  There’s beautiful character work, like the exploration of Maya’s brother Bailey and how deeply affected he is by the existence of their “Mother Dear.”  There are searing, horrendous passages, like the description of Maya’s rape as an 8-year-old.  There are intellectual ruminations, social commentary, poetic beauty, heartbreaking truths, and fierce individualism.  It’s at once a story containing fathoms and the story of one specific child.

I particularly love the deft exploration of race, including the influence of colorism and the intersectionality of being both Black and a girl.  Angelou covers the terrifying (Momma embodying the caregiver of every Black boy who’s ever had to agonize over his safety in an unkind world when he doesn’t come home at night,) the dehumanizing (the white dentist telling Momma there’s no way he’ll put his hands in Maya’s mouth,) the unifying (everyone crowded into the store to listen to a Joe Louis fight on the radio, needing him to win as a reflection of their own legitimacy as a people,) and the soul-crushing (the speaker at Maya’s graduation talking about the top-of-the-line equipment and new teachers brought in to improve the white school, while the Black school is getting money devoted only to its athletic facilities.)  In both large and small moments, threats of violence and microagressions alike, American race relations work their way into Maya’s life, and it is in that tempest of hatred, fear, and ignorance that she must come of age.

Just superb.  There’s nothing more for me to say, except that I feel fortunate to have read it.

Warnings

Sexual content (including abuse of a child,) violence, language (including racial slurs,) drinking, and strong thematic elements.