And then the island is overrun by malefactors and nogoodniks, emerging from the mud flats. Dr. Alec Holland has just made his amazing scientific breakthrough — like, literally in the last sixty seconds, he made it — and suddenly, this is a base under siege.
I don’t know if you remember all those guards with guns who were scattered around the landscape outside the lab, but every single one of them has either been shot, run away or turned out to be just a cardboard cutout with “guard” written on the front. As far as the main characters are concerned, they are alone on the moon with no outside assistance, surrounded by a tribe of terrible people who are dead set on ruining everybody’s day.
Continue reading Swamp Thing 3.12: The Hostiles
Yeah, it’s heartwarming when you cast an unknown and he breaks big, but the sudden transition from unknown to really quite exceptionally known can be jarring for a young star on the rise. Sure, Christopher Reeve had been in some plays nobody saw and spent a couple years on a soap opera that nobody liked, but as far as the world was concerned, he sprang into being fully-formed, as the ideal embodiment of a pop culture icon.
As we saw in yesterday’s post about the reviews, literally everyone who ever saw Superman thought that Christopher Reeve was utterly convincing, and perfect for the part. Even the critics who didn’t like the films had to admit that they fell under the spell of Reeve’s charm; if there were problems with the movies, then those problems were happening on the outskirts of the Reeve-controlled territory.
But the problem with being perfect at something is that you might not be perfect at anything else, which leads to disappointment once the thing that you’re perfect at is over. And that is the story of Christopher Reeve, starting from the release of Superman II. For the rest of his career, he’ll be chasing the dizzying high of “You’ve got me? Who’s got you?”, which will overshadow everything that he does, very much including the other two Superman movies.
So it’s right here, just before Superman II is finished and the rest of his life begins, that Christopher Reeve gets his next big break: being a guest star on The Muppet Show.
Continue reading Superman II 2.52: Light the Lights
I was talking yesterday about human history, and so far I’m only up to World War II, so I’m afraid there’s quite a bit left.
In Superman: The Movie, Jor-El tells Superman that he must not interfere with human history, which may have seemed like a good idea in the abstract but is pretty hard to achieve, especially for a guy who can fly and blow things up with his eyes. That kind of thing tends to make a noticeable dent in the arc of history, one way or another.
Superman first encountered this problem just a few years after he was created, when everybody expected him to go and fight on the front lines of World War II, which — given the inherently unstoppable nature of his character — would have led to a limited set of story options.
As we saw in the excerpts from WW2-era Superman comics yesterday, the common American understanding of the war was that there were three or four bad people in the world — Hitler, Mussolini, Hirohito and maybe Stalin — and if we could apprehend those individuals and bring them to an international tribunal for justice, the war would be over and everything would be fine. It was basically a battle with a handful of powerful supervillains, and that kind of thing is right up Superman’s street; he could just leap over to Europe and head east, collecting dictators as he went along.
So let’s say that Superman gets his hands on Hitler, and serves him a hot slice of comeuppance. Then what?
Continue reading Superman 1.64: Human History, and How to Not Interfere With It, part 2