Welcome to the 20th annual Wriphe.com Superman Month! What a nice, round, mature number.

This time last year, DC Comics was celebrating the impending release of their latest Superman movie with the "Summer of Superman" publishing initiative. One year later, Superman is literally nowhere to be seen in the DC Universe. Earlier this year, the Man of Steel won a tournament to the death and then disappeared from existence. His comic books are still being published with various children in his stead in a storyline that DC is calling "Reign of the Superboys." DC tells us it is selling very well, but the Superman fans I know don't seem very enthusiastic. I don't blame them. Who wants to pay $5 for a comic that doesn't feature their titular hero?

"Who wants to pay $5 for a comic?" I hear you asking. You make a good point. But this month is about Superman, not the economics of nostalgia.

I also hear some of you you asking, "Who cares about Superman?" I do, for one, and not just for nostalgic reasons. Superman might be a morally inflexible overgrown boy scout in bright pajamas, but at my advancing age, I increasingly enjoy the company of strong characters who still believe that Truth, Justice, and the American Way aren't all mutually incompatible.

Superman: The Man of Steel #80, June 1998

Yeah, he can be a bit preachy. Nobody's perfect.

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I was recently gifted several issues (Volume CXLV, Numbers 3-6) of The Saguache Crescent, the newspaper of record for Saguache, Colorado, for 145 years and counting. (Still just 35¢! Cheap!) It has a delightful engraved, four-column masthead of the sort they just don't make anymore.

I've been told that natives (by which I mean the descendants of white settlers who now populate the region) pronounce "Saguache" much the same as I pronounced the name of the ubiquitous Swiss wristwatch of my 1980s childhood: Sa-watch. Wikipedia says there's a bit of confusion about what exactly the word means in the original Ute language. It's either "sand dune," "green place," "blue earth," or "blue water." Maybe all of the above? In any event, it sounds like a nice place. No wonder people have been writing and reading about it for so long.

Wikipedia also alerted me to the fact that The Saguache Crescent is the only known newspaper in the world still printed on a 19th-century Linotype machine, something that's pretty obvious when you have one in your hand. Back before you watched the news on your phones, kids, they used a keyboard to assemble physical letter molds into lines that became the printing slugs that were inked and applied to paper. Because the final slugs were a single block of lead, typos—which might have been your fault but just as easily could have been the fault of a finicky machine, something no computer will ever admit to—were forever. It's charming in hindsight.

Once you go looking, you'll find plenty of web articles explaining that The Saguache Crescent is run by one man, "DEAN I. COOMBS, Publisher," as a labor of love. He prints one paper a week for his modern community of about 500 people, obviously reusing slugs as often as possible. All of which explains why all four editions of the paper in front of me contain the same misspelled headline:

"VD Love Lettesrs at the saguache public library."

And I know I'm old-fashioned, but I'm going to blame the lingering nostalgia inspired by this Old West newspaper for causing me to wonder why in the world the Saguache, Colorado, public library is getting love letters from Venereal Disease.

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While following a link to the recently announced song that will be the theme for Peacemaker Season 2 ("Oh Lord" by Foxy Shazam), I noticed that YouTube has helpfully created a Mix, which they describe as "a nonstop playlist tailored to you." I always say I'm not really a music guy, so it's very kind of YouTube to decide for me what music I like.

This is the first 50 songs (eliminating duplicate artists) in my current Mix. Let's see how the algorithm did.

1. "One Night in Bangkok," Murray Head (1984)
2. "Original Sin," Taylor Dayne (1994)
3. "Maps," Yeah Yeah Yeahs (2003)
4. "Chaise Lounge," Wet Leg (2022)
5. "Owner of a Lonely Heart," Yes (1983)
6. "Mr. Blue Sky," Electric Light Orchestra (1977)
7. "It's the End of the World as We Know It (and I Feel Fine)," R.E.M. (1987)
8. "Breakfast at Tiffany's," Deep Blue Something (1994)
9. "Only Happy When It Rains," Garbage (1996)
10. "Teenage Dirtbag," Wheatus (2000)
11. "All the Things She Said," t.A.T.u. (2002)
12. "That’s Not My Name," The Ting Tings (2008)
13. "Got My Mind Set On You," George Harrison (1987)
14. "Video Killed the Radio Star," The Buggles (1980)
15. "Dancing Queen," ABBA (1976)
16. "You're the Best Around," Joe Espisito (1984)
17. "Do Ya Wanna Taste It," Wig Wam (2005)
18. "Loser," Beck (1994)
19. "Buddy Holly," Weezer (1994)
20. "Here It Goes Again," OK Go (2005)
21. "I Love It," Icona Pop (2013)
22. "You should be sad," Halsey (2020)
23. "I Ran (So Far Away)," Flock of Seagulls (1982)
24. "Head Over Heals," Tears for Fears (1985)
25. "Burning Down the House," Talking Heads (1983)
26. "You Can Call Me Al," Paul Simon (1986)
27. "Message in a Bottle," The Police (1979)
28. "Love Will Tear Us Apart," Joy Division (1980)
29. "Steppin' Out," Joe Jackson (1982)
30. "Mr. Roboto," Styx (1983)
31. "Daydream Believer," The Monkees (1967)
32. "End of the Line," The Traveling Wilburys (1988)
33. "Miami Dolphins Number One," Lee Ofman (1972)
34. "Paint It, Black," The Rolling Stones (1966)
35. "The Passenger," Iggy Pop (1977)
36. "Coming Up," Paul McCartney (1980)
37. "Steal My Sunshine," Len (1999)
38. "Groove Is In The Heart," Deee-Light (1990)
39. "Don't You Want Me," The Human League (1981)
40. "Blue Monday," New Order (1983)
41. "Take On Me," a-ha (1985)
42. "Come On Eileen," Dexys Midnight Runners (1982)
43. "In a Big Country," Big Country (1983)
44. "Cars," Gary Numan (1979)
45. "C'mon, Let's Do It," Gerhard Heinz (1977)
46. "Turn It On Again," Genesis (2004)
47. "Life In a Northern Town," Dream Academy (1985)
48. "Flash's Theme," Queen (1980)
49. "Roam," B-52s (1985)
50. "Breakout," Swing Out Sister (1986)

Wow. If I was picking songs for myself, that's not the list I would have made. I mean, if I only get one Genesis song, I'd prefer it was "Land of Confusion" with its overt Superman reference and kick-ass electronic drums. But I cannot deny that yes, that is all Walter Music. I have a real emotional connection to some of those.

I see where your head is, YouTube programmers: audio honeypots! Nostalgia captures eyeballs, even mine.

The one song on that list that stands out to me is "Love Will Tear Us Apart," which is fine; it's just not a song I ever seek out. (I don't recall ever even Googling it. Is it there because of "Blue Monday," the Joy Division/New Order connection?) I also find it interesting that despite including Roy Orbison, Bob Dylan, Paul Simon, and two Beatles, only three of the above performances are older than I am. Fun fact: As I type this in 2025, there are more surviving Stones (3) than Monkees (1).

In case you're curious, as I was: the average year is 1989, the median 1985, the mode 1983 (5). That sounds about right, as '83 was the year of Thriller. I still remember where I was when I watched the debut of the video on MTV (on a cabinet-sized, wood-paneled television with knobs!). We watched a lot of MTV in '83. We also watched a lot of Night Tracks on the TBS Superstation in the wee hours of Friday nights. That's what we had to do before YouTube, kids: stay up real late in the hopes that they would play our favorite songs.

And yes, I just listened to every song on that list again. Don't stop to ask. And now you've found a break to make at last. You've got to find a way. Say what you want to say. Breakout.

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57/2368. American Graffiti (1973)
I avoided this movie for years in part because I expected it to be the worst kind of nostalgia trip. It is indeed what I thought it was, but it also has a truly great cast, and the soundtrack is even better than advertised. I've got to give it to George Lucas, he really knows how to give audiences what they want when he wants to. (Which makes those later Star Wars movies even more baffling.)

Coke note: For a movie built on pure, distilled 1950s Americana, Coca-Cola is conspicuously hard to find. It only appears in a mini-golf snack shop intentionally obscured from the camera because it was obviously part of the actual snack shop and not paid product placement. (The "Frozen Coca-Cola" logo dates to 1969, an anachronism in a movie that takes place in 1962. Obviously.) What, did Coke want a cut of the box office?

58/2369. Thor: Love and Thunder (2022)
Clearly the wrong lessons were learned from Ragnarok. The key theme of both the the A and B plots in this film are squarely focused on death, or more specifically, how to come to terms with surviving the death of loved ones. I think this is what makes the incessant, juvenile antics of Thor and company land so badly. There's just too much happening that's too heavy for the audience to enjoy casually tossed-off punchlines (mostly about destruction) and a badly underrealized visit to God City (which should be a movie in itself).

59/2370. The Hateful Eight (2015)
When I reviewed Django Unchained, I mentioned that it felt plodding. This movie moves half as fast, but since it is set up like a horror film (wearing the skin a Western), the slow pace is actually its strongest asset. (Perhaps because of Kurt Russell's presence, it becomes clear pretty quickly that John Carpenter's The Thing is the style template here.) The overriding theme in Tarantino's best work is the fluid state between trust and betrayal (the guy must have issues), and all roads lead here. Very good, I'd say; among Tarantino's best.

60/2371. MoviePass, MovieCrash (2024)
This is a documentary about how a company germinated by a good idea was killed by greed. It is a very American story, but it's clear even the filmmakers don't think anyone will learn any lessons from it.

61/2372. Scott Joplin (1977)
Billy Dee Williams plays the King of Ragtime in a period piece biography heavy on the syphilis. The movie is not great -- the director is unable to rise above its made-for-television feel -- but Billy Dee is.

More to come.

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I wouldn't have gotten through the summer of 2020 without frequent (weekly) viewings of The Rocky Horror Picture Show. The balm of summer 2022 is turning out to be Dua Lipa's Future Nostalgia album, which I have listened to every-other day (or more often) since June.

Thanks, Britain!

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In hindsight, do I watch a lot of movies about death?

39/2048. Death on the Nile (2022)
There's a lot in this that sequel to The Orient Express that will feel not quite right to hardcore Christie fans, but I was more bothered by the CGI used to replicate 1930s Cairo than the anachronistic cultural mores or addition of Poirot's backstory. Don't get me wrong, I still liked it and would definitely keep watching Kenneth Branagh Poirot movies.

40/2049. The End (1978)
In this blackest of comedies, Burt Reynolds plays a man so afraid of pain that he is determined to kill himself before his terminal disease can. When this film works, it's usually because of Burt's natural charm, though it does squeeze some good comedy bits from very real human situations. (I found the third act slapstick to be too broad given the dark matter that preceded it. Your mileage — and tolerance of Dom DeLuise's over-the-top antics — may vary.)

Drink Coke and die!

41/2050. The Green Knight (2021)
The classic legend is about a knight on a quest to have his head chopped off, but this modern telling is more acid trip than road trip. Every line of dialog only makes the story more confusing. It might be more tolerable if it wasn't all filmed in a dark forest without lighting. Blech.

42/2051. The New Mutants (2020)
Whenever someone wonders what "studio interference" is, point them to this movie. The writer and director were very clearly using trying to make a horror film about adolescence and sexual awakening, but the studio wanted more traditional superhero fare. The actors seem completely confused (disinterested?) about what they're supposed to be doing, and the result *is* a nightmare, just not one that anyone would want to see.

43/2052. Tony Hawk: Until the Wheels Fall Off (2022)
The old footage and glowing interviews about Hawk's early days are cool. Unfortunately, Hawk is unable or unwilling to examine his adult life outside of the world of skating, so in the end, he seems almost a victim rather than a champion, especially as the story ends wallowing on his inevitable physical decline. Was the intention of this documentary to make him a martyr?

44/2053. Closed for Storm (2020)
Another documentary, this time about the doomed New Orleans Jazzland theme park, from its conception to its destruction by Katrina to its abandonment by Six Flags to New Orleans' continued inability to do anything with it's remains. Honestly, it's the last part that I found most interesting because that was when the film veered from mere morbid nostalgia to something bordering on political activism against corrupt governance. Rage against the dying of the light, indeed. Of course I liked it.

More to come.

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When I was in elementary school, my favorite book was Bunnicula. (Actually, if memory serves, my favorite was the third book in the "Bunnicula" series, The Celery Stalks at Midnight. You gotta love that title!)

In a fit of nostalgia, I searched to see if that book was still in publication. Turns out it is. A 40th Anniversary Edition was released in 2019. And surprise, surprise, in 2016 it was turned into a series of 104 cartoons for Cartoon Network. (Where was I while that was happening?)

Now, I happen to know that the 2016 cartoon is not the first animated adaptation. Bunnicula, the Vampire Rabbit was produced in 1982 by Ruby-Spears (the same company that brought the world Police Academy: The Animated Series). I had only the vaguest recollection that this existed, and if you don't remember seeing it, that's because it is objectively awful.

Teach the kids early: the book is always better than the movie.

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Finally! These are the final entries in my 2020 new-to-me movie list, all coming from December.

199. (1853.) Going Attractions: The Definitive Story of the Movie Palace (2019)
This is a documentary about the kind of movie houses that barely exist anymore, those built to worship the mythology of the big silver screen. It's equal parts nostalgia and an oral history of the decline and fall of western civilization. I loved it.

200. (1854.) Monster Zero (1965)
This is one of the Toho Godzilla films (also released as Invasion of Astro-Monster). Here's the plot: a group of aliens beg Earthings to lend them Godzilla in order to eradicate the threat King Ghidrah presents to their home, Planet X, but it's all really a trick to get Godzilla off Earth so the aliens can take over. I have to assume it made more sense in the original language, because this thing was nutso in all the best possible ways.

201. (1855.) Black Christmas (1974)
A slasher flick which treads heavily on the "The call is coming from inside the house" ghost story. I did not find it particularly satisfying, despite the presence of Margot Kidder and John Saxon.

202. (1856.) Teen Titans GO! To the Movies (2018)
I watched this only to see Booster Gold, and I was pleasantly surprised. Fans of comic books will enjoy.

203. (1857.) Downhill (1927)
This early Alfred Hitchcock silent doesn't have a cameo appearance by the director, which is a shame, because the film is equally devoid of any real substance. (Rich boy gets blamed for knocking up a shop clerk and his life goes quickly, well, you get the idea.) For Hitchcock diehards only.

204. (1858.) Red Sun (1971)
Did you know there was a spaghetti western starring Charles Bronson and Toshiro Mifune, the samurai who inspired The Man With No Name? Well, there is. And it's very good.

205. (1859.) It Happened on Fifth Avenue (1947)
Another very good film, this time a light comedy of errors featuring class warfare butting up against Christian spirit. It could easily have ended happily several times, but to its credit, it never takes the easy way out and still resolves excellently. A Merry Christmas to us all!

Onward to 2021! More to come.

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In late 2011, DC transitioned to "The New 52," a publishing initiative intended to attract new readers to comics by reimagining the DC Comics universe of characters for 21st-century audiences. In that regard, it was a big success. New readers did flock to DC's titles, but at the cost of many longtime readers who had supported the publisher for decades and now felt betrayed. When the new readers moved on to the next fad, DC was left without any readers at all.

Four-and-a-half years later, in 2016, the company predictably responded to the failures of the New 52 with a return to the characters and stories the New 52 had discarded. They called this event "Rebirth," and it was in some ways good and in other ways more of the same poorly thought-out, short-term behavior that had doomed the New 52. For example, it was promoted from the beginning that the famously enigmatic Batman villain Joker would finally get an origin story. Fans loved that idea, so, naturally DC didn't follow through on it for four more years as they instead focused on revisiting stores from the 1980s. And they wonder why their market share keeps shrinking.

Which brings us to the year 2020 and The Three Jokers, its name alone an overt reference to the self-inflicted damage that decades of navel-gazing reboots have done to what passes for history in the lives of DC superheros like Batman. As so much else from DC these days, the story of The Three Jokers is woven around some of the biggest Joker stories ever told, most of them more than thirty years old.

Why should any young reader be interested in returning yet again to stories written when their fathers were children? Why should their fathers buy the same old story a third, fourth, or fifth time? Nostalgia is a game of diminishing returns, and all this navel gazing only continues to alienate readers already concerned that DC has nothing new to offer in exchange for the $5 cover price cost of a modern comic book.

Clearly DC learned the wrongest of lessons from their New 52 debacle a decade ago and have reverted to repeating the same mistakes that got them into that mess to begin with. Something tells me that if the Joker was a real person, he'd get a kick out of that.

This page was published in 2010. The more things change....

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The Hollywood Reporter reports the totally inevitable news that Disney is remaking Bambi as a "live-action feature" as a "companion piece to its remakes The Jungle Book and The Lion King." I can't tell you how much it bothers me that Disney insists on calling its computer-generated eye-candy "live-action." I also can't tell you exactly why.

A large part of it must be related to my distaste for Disney itself. I once had a great deal of respect for the company that Walt built on the back of an animated mouse. Mr. Disney was an imperfect man, but he really did believe in making disposable entertainment into art. His successors less so. These days, the powers-that-be at Disney are obsessed solely in their quest to be the only entertainment company on earth. They'll do anything that gets them an extra almighty dollar, mostly including exploiting pre-packaged nostalgia for Walt's corpse.

However, a bigger problem is the lie itself. Computers are powerful, but outside of Weird Science, they remain incapable of breathing life into binary code. Nothing about The Lion King was live action, but Disney has been very careful to avoid saying so. (For example, they refused to submit the movie for consideration for Best Animated Feature Film Oscar.) I don't know why. Movies aren't real to begin with, so why mislead people about how they are made?

It increasingly looks like we're living in a post-truth society. The man in the White House can't say two sentences without a lie. Facebook will not restrict political campaigns from spreading intentional, demonstrable mistruths in paid advertising. Enemy states are using face-switching technology to promote propaganda on social media. With politicians already doing such a great job at it, why should we let corporations continue to degrade America's tenuous grasp on "reality" any further?

Sigh. I know I'm over-reacting. It's just promotional press for a movie that I won't watch. (Unless they shoot Bambi this time.) I know I'm just getting old and weary. But these uncontested, re-reported lies are really starting to get to me. It feels like 1984 is getting closer ever day, and now it's coming soon to a theater near you.

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