Sharing Diva Space

I’ve always wondered about how awesome-sounding a Sarah McLachlan, Natalie Merchant and Tori Amos collaboration would be. I remember being blown away by their music back in the early ‘90s. They’re piano-playing singer-songwriters with disparate styles and musical approaches, so I often imagined them doing something really arty together, singing respectively penned verses and creating a keyboard and string-heavy arrangement as a unit. I can see the misty music video, the women dancing or twirling around their campfire like Three Fates or three sister Muses, singing about life, emotion, or disruption emotively, descriptively, liltingly. I dunno, I daydream about these things, sometimes.

Sarah sang with Jewel and the Indigo Girls a while back, in one of the Lilith Fair shows. The folk ballad’s called “The Water Is Wide,” and it’s just damn lovely. Unlikely duets (like the thrilling U2-Mary J.Blige remake of “One,” and Keith Urban and Alicia Keys’ live rendition of “Gimme Shelter”), and cause-oriented collaborations have always fascinated me. And speaking of gatherings, I saw a clip of Sarah and the Lilith performers singing and sharing lines from Joni Mitchell’s “Big Yellow Taxi” after one show years ago. Perhaps it’s the fact that such unbelievably gifted artists are together under one roof (or on an open stage) that appeals to me first. I like seeing them, to quote Madonna on collaborations, “share diva space.”

Back to the trio of rock muses. Here are my illustrations of the women and some quotes.

Sarah McLachlan:

“(Lilith Fair) wasn’t any social commentary thing. It was that I thought it’d be fun. That’s it! Nobody wants to hear that! They want me to be this big political/social innovator. I kind of became that by error.” (Entertainment Weekly, June 19, 1998)

The storm keeps on twisting, you keep on building the lie that you make up for all that you lack. (“Angel”)

I would be the one to hold you down, kiss you so hard. I’ll take your breath away. (“Possession”)

Tori Amos:

“I’ll manipulate a song the way I want to ‘cause I just like it that way. It’s like I’m saying to the muse, ‘Look, if you don’t want my input, go to Jewel.’” (Rolling Stone, Nov. 13, 1997)

Girls you’ve got to know when it’s time to turn the page, when you’re only wet because of the rain. (“Northern Lad”)

I’ve been looking for a savior in these dirty streets, looking for a savior beneath these dirty sheets. (“Crucify”)

Natalie Merchant:

“I’ve never met a groupie. I think I have a totally asexual aura. I tend to attract earnest poetry majors who just want to tell me they appreciate my work.” (Rolling Stone, Nov. 13, 1997)

Instead of love and the feel of warmth, you’ve given him these cuts and sores that don’t heal with time or with age. (“What’s The Matter Here”)

These are the days you might fill with laughter until you break. These days you might feel a shaft of light make its way across your face. (“These Are Days”)

Plus! More dream three-way collaborations:

Billy Joel, Regina Spektor, Vienna Teng

John Mayer, Jason Mraz, Jack Johnson

Paul McCartney, Joni Mitchell, Tina Turner

Leigh Nash, Dan Haseltine, Tiffany Arbuckle

Madonna, Cyndi Lauper, Prince

Ryan Tedder, Ben Gibbard, Chris Carrabba

Michael Stipe, Bono, Robert Smith

Sheryl Crow, John Mellencamp, Joan Osborne

Dar Williams, Jewel, Suzanne Vega

David Gray, Heather Nova, Aimee Mann

Multiversal Magnificence

Crisis’ Dr. Light illuminates

No, not the perv creep. The female Dr. Light, Kimiyo Hoshi, from the Crisis on Infinite Earths Series 3 line, is an okay figure. I finally got her at almost half the original price at the recent Toy Con. While she’s not really Asian-looking except for the skin tone, and my particular figure has thicker right eyelashes and doesn’t have earrings, it’s still a nicely made toy with 15 points of articulation. Nice sheen on the gloves, boots and cape, too.

Toying with Alexander Luthor

At last! Alex Luthor, a.k.a. the guy who masqueraded as Lex Luthor in Villains United, goes on sale. DC Direct’s Infinite Crisis Series 1 toys are a fine set, and Luthor is a good-looking plastic version of the character. The gold paint is great and the 11 points of articulation are just right. The “wig” or the attachable thick retro hair looks weird, though, because it looks too puffy on top. That accessory aside, this figure captures the majesty and seemingly innocent façade of the insane and powerful super-villain.

Hobby Haul Happiness

De-stressed a little at the gym last Friday. Lifted weights, sauna’d, steam roomed and used a number of arm and chest exercise machines. The next day, getting all sweaty wasn’t as pleasant an experience at the mightily packed annual Toy Convention at Megamall. I had to walk around the Megatrade Hall to look for nice stuff, and it got a little too crowded at times. Still, the huge crowd was a given and being there was quite a fun experience. I was able to find a few action figures at bargain prices (finally, the female Dr. Light, Alex Luthor and Superboy Prime!). I wanted to buy more but, drat, I had to save for other things. Lotsa fellow nerds enjoyed the plethora of pleasurable plastic poseables. Had to change into my new uber-nice Marvel geek shirt, some time later:

I met up with fellow toy collectors JC and Cyrus, who got themselves bagsful of goodies by the early evening. Benedict was cosplaying as the Transformers’ Prowl, but too bad I wasn’t able to take pics of him transforming. People loudly cheered thrice while he did that onstage. The best costume award this year was given to the guy who dressed as MODOK (or Mental Organism Designed Only for Killing, below)! I clapped and cheered. You just have to see his tongue flitting in and out of his grotesque mouth!

There’s also Hard Gay, who’s been at every major hobby event these last few months. That’s his shtick; he’s the provocatively dressed and named cosplayer. I saw one girl shriek when she saw him. I don’t get the fascination, but, well, he’s a fun fellow who gamely poses for people. And it’s a different pose each time!

It was a fun event. Wish I had some extra cash to get some of the sweet-looking loose figures, but I’ll probably find them in some of the toy shops eventually. It’s been months since I bought an action figure, and it was fun to have such an event that catered to me and my fellow toy lovers.

From great to okay ‘Sex’

(Published June 10, Philippine Daily Inquirer-Entertainment)

By Oliver M. Pulumbarit
Contributor

A few years after the successful and satisfying conclusion of the groundbreaking HBO comedy “Sex and the City,” Carrie and her gang of independent, stylish women return for a giddy silver screen reunion. It moves the characters forward, just like the bold and beloved series did weekly. It also rewards longtime fans with new romance and relationship witticisms, even if there are some really annoying scene deletions.

The four friends have changed, but are expectedly acclimating to their new lives at points where the series practically left off. Sex columnist and author Carrie (Sarah Jessica Parker) is making big plans with her beau Big (Chris Noth); once-cynical lawyer Miranda (Cynthia Nixon) is busy being the wife and mother; romantic curator Charlotte (Kristin Davis) is now the perfect wife and mom; formerly promiscuous PR gal Samantha (Kim Cattrall) continues her relationship with young actor-model Smith Jerrod (Jason Lewis).

A short but lively recap of the quippy quartet’s history is woven into the opening credits, for those unfamiliar with their past TV lives. Of course, it’ll be appreciated more by those with a broader knowledge of the show. The film is fan-pleasing enough that some flaws can be overlooked; the reunion extends past the screen and onto the devotees. The big-screen jump is comfortably handled by Michael Patrick King, who previously penned and directed several “SATC” episodes years ago.

The “Sex and the City” movie engages just like the TV series, where the foursome’s characters provide different angles on a particular intimacy subject per week. Their different, thematically connected experiences still keep things busy without getting convoluted. While it feels like watching an extended arc, or the equivalent of a marathon of about seven 22-minute episodes, the movie doesn’t tackle as many subjects as its TV progenitor excellently and concisely did. Here, there are parts that feel stretched and padded, even when the story takes place within the span of several months.

Still, the storylines this time exploit some conflicts: Carrie experiences a déjà vu of her turbulent past with Big. Samantha holds back urges for other hot men, and distracts herself by getting a furry pet. Miranda’s partial domestication is suddenly challenged by her spouse’s revelation. There isn’t much going on with Charlotte, but she gets the chance to be the comic relief in some tense (and contrived) situations. The comparisons to the show’s better-written stories are unavoidable, but again, you don’t mind that much if you’re a fan. There are a few things it does differently, though.

Carrie’s given ample characterization; you see her change and come to big realizations, sometimes without her ever-dependable and truth-seeking voiceover narrations. And Mr. Big is given some depth, at last, even when that makes him less mysterious and even more prone to making bone-headed decisions.

It’s far from smooth viewing, though. The deletions of scenes are distracting; you’ll get perplexed by the jarring cuts and wonder what you just missed. The ruined buildups of several scenarios will make you wince and feel a little insulted.

“Sex and the City” tackles pretty much the same kinks and love issues as the seminal show. They don’t go the scandalous “Desperate Housewives” route, but there’s enough realistic post-dating drama that gets fleshed out here. And while there is a noticeable absence of lovemaking, “Sex and the City” still favorably discloses on female empowerment, the search for happiness, and yes, intimacy beyond the physical kind.

‘21’: Fleecing Las Vegas

(Published June 12, PDI-Entertainment)

By Oliver M. Pulumbarit
Contributor

Fresh-faced and multi-talented Jim Sturgess (“Across the Universe”) stars as a math genius-turned-calculating casino fixture in the pretty mechanical drama “21.”

Some transparent life-game metaphors don’t really equate to anything really mind-blowing in the film, directed by Robert Luketic (“Legally Blonde”), and inspired by the bestseller “Bringing Down the House” by Ben Mezrich.

But it plays some cards right.

Beguiling in some parts and plain puzzling in others, “21” allows Sturgess to exhibit his acting range further, as he plays one of very few characters with solid and faceted personalities in the entire film. There’s narrative clarity, but it clings to a pretty rudimentary structure that gets dull on occasion, too.

It’s easy to appreciate the once-naïve nerd’s gradual cocooning into someone who conquers card tables and a hot woman’s heart, but it’s a belated coming-of-age sojourn we’ve witnessed a few times before. Still, while the story’s far from being exceptionally thrilling, it succeeds in capturing some important nuances.

Shy college student Ben Campbell (Sturgess) discovers that his mathematical expertise can spare him some financial burdens when he’s recruited into a secret club by his charismatic professor Micky Rosa (Kevin Spacey). Ben reluctantly joins the small band of cool misfits, but soon finds himself drawn to the idea that he can easily win big money. Blackjack is a “beatable” game, said the professor, so Ben hones his unique aptitude for counting cards. He’s only going to pretend that he’s gambling later.

The motley crew of casino raiders train for this complex and covert endeavor, but the visualization and execution of this process is quite confusing on our end. A montage of scenes depicting numbers and code words become flashy gobbledygook, comprehensible only to that small circle of brainiacs.

So the tricks are math whiz-exclusive and you’ll pick up the gist later in succeeding scenarios. As a viewer, though, you’d still feel left out.

Ben and Micky have an involving protégé-mentor dynamic; their somewhat similar mindsets and conflicting personalities keep shared and separate scenes intense. But while Sturgess and Spacey are given lots to do and layers to explore, the other characters are just flat and underdeveloped.

Laurence Fishburne as a casino’s gruff security head is a tad entertaining but too caricaturish. Kate Bosworth looks doll-like, but her beauty-and-brains persona lacks a hook. And the rest of the nerds, well, they’re just non-entities.

Dockin’ with rovin’ Rovilson

(Published June 11, PDI-2bU/Lifestyle)

By Oliver M. Pulumbarit
2bU Contributor

TV host and former “The Amazing Race Asia” contestant Rovilson Fernandez recently transformed into a living mannequin at the Dockers Power Plant Mall outlet.

For several minutes, he posed with two models at the shop’s display window, grinned for onlookers and lenspeople, and danced a cool permutation of “the robot” and miming (well, there was actual glass, but he didn’t really touch it).

The 34-year-old Fernandez, sporting the latest Dockers threads, later confessed that he’s a clothes-modeling newbie. But he loves learning new things, so doing that for the launch of new products was a worthwhile experience.

He mentions that aside from the “Amazing Race” gig, he’s had many chances to be spontaneous and to try out things.

“My first show was ‘Lakbay TV,’” he says. “It’s funny because they still air episodes where I still have hair. I honed my hosting there and in ‘Game Plan.’ That’s my niche: sports and travel.”

“Dockers khakis are basically for consumers who are youthful, definitely outgoing,” says Dockers Brand Leader Bobet Romualdo. “We believe Rovilson depicts that character. This product line is a balance between work and relaxation. He depicts the K1 man: He’s free-spirited, relaxed and he’s genuine!”

Here, Rovilson talks to 2bU about living a fun, adventurous, eyes-wide-open life.

You’ve obviously had tougher challenges before, but how did modeling that way feel?

It’s just funny; I was talking to Peter, one of the models, and I said, “Modeling is so hard.” I give much respect to them and their craft. Modeling is very tough. It’s an honor to be chosen. I’ve never done that--glass window modeling--before. So I thought it was pretty cool.

Any similar experiences where you did photo shoots like this before?

Never. They said 20 minutes. Us three models up there, we were counting down the 20 minutes. It was pretty tough but we had a lot of fun.

How do the clothes fit you and your lifestyle?

I just love the easy fit. It’s casual and it fits a lifestyle that I’m quite accustomed to. I don’t like flashy items; I’m a jeans and khakis guy. It’s perfect for me. Easygoing, casual, durable, and behind the name is quality. It’s also fashionable. It’s a 24-hour outfit.

You lived in the US before transferring here. What have you learned about Philippine life and Filipinos?

Oh. Wow. Gosh, in the eight years of living here, I’ve learned that money isn’t everything. I love living here. It’s a great place. There’s so much potential, not just for the Philippines but for Asia. You’re gonna be seeing the Philippines in the next decade, in all facets: media, business, travel… The peso’s doing great now. And Pinoys, in general, what they want is to have a good time. They want the easy route on how to do things. Can’t fault them for that, and I’m one of them!

How was joining TAR-Asia a beneficial experience, aside from the obvious region-wide exposure?

It was a dream come true! Shows like “Gameplan,” and “Lakbay TV” taught me well. The Philippines and the TV shows Marc and I did taught us to be successful. So our way of giving back to the country was to do well, to represent the country as best we could, to always be proud and carry the flag. I think we showed that, and demonstrated that Pinoys are hardworking yet happy-go-lucky people.

You and Marc worked well together. Did each of you have quirks that you had to accept, onscreen and off?

Nothing weird about that guy, except his sense of humor, but that’s what I love about him. His sense of humor is fantastic. We’ve been friends for a long time; we get along quite well and we both like the same things. We like a good laugh. We love traveling, we love adventure and we’re both competitive. He was the best partner.

Speaking of partners, you’re seeing some right now.

I’m quite smitten over a girl from the Race. We’re meeting each other. Long distance is tough, but we’re accepting of our careers and our situations. It’s fun!

What sports are you into right now?

I’m definitely into adventure racing. I like it because it combines these different disciplines: biking, swimming, hiking. And it’s always outdoors. I get bored easily, playing just one sport. This one combines a lot of disciplines so it’s a great sport for me. Joining “TAR,” which is the pinnacle of adventure sports, it was a dream come true.

What are you looking forward to doing now that it’s over?

I’m executive editor of Maxim magazine, so that’s my day job. I love Maxim. It’s a brand I grew up with. I think I represent the Maxim man. On top of that, I’m slowly getting sucked back to TV. I thought I was done with it. But thankfully, the success of the show has opened a lot of doors for Marc and I, not just locally, but regionally. So we’re fortunate.

What do you tell people who wish to follow in your footsteps?

Just be persistent. It took me eight years in the business to get to where I am now. Never give up on yourself. Always have faith in your abilities. Make a lot of friends, and remember, don’t burn bridges. The person that you’re in the trenches with one day will be your boss the next. Other than that, have fun!

Damn Restless

Exhaustion’s been creeping into my head. Haven’t been getting enough sleep, and I’ve been feeling tired even after I wake up these last couple of days. And there are times when I can’t doze off, even when I desperately want to.

I try not to worry. But I do ask myself if I’m doing the right thing, if my efforts count, if I should even bother. I ask myself where and when I’m getting the next paycheck, what I’m gonna eat tonight and how I’m gonna make my money last for the next few weeks. But don’t get me wrong. I love being a freelancer and the arrangements it offers me.

I know that other people have it worse, that they’ve problems on a scale unimaginable to me, but I’d say that my concerns are just as valid, and I can still acknowledge that we’re all struggling with whatever it is that life throws at us.

I know things are gonna get easier, but I wish they’d get that way sooner.

I’m f*cking tired.

Mission, Volition, Television

Ancient colored art. These are mostly published magazine and newspaper illustrations from five to six years back. That cartoony self-portrait, I did after a trip to Banaue years ago, but I didn’t send it to get published with an article I wrote (my first and only Travel section contribution). Check out the Multiply album for more of the drawings.

Anyway, looking at this set brings back memories of some good times. Whoa, I forgot about the Maui Taylor (with Wendell Ramos and Jordan Herrera) caricature, which I did for a really short-lived mag.

Thanks to John for the scans, by the way.

Just Astonishing

No spoilers. Giant-Size Astonishing X-Men # 1 ends Joss Whedon and John Cassaday’s immensely entertaining run. This 25^th issue has over 40 pages of story, but it’s an easy read as usual. I was stunned, impressed and saddened. That’s happened only about thrice this year for me so far, with Walking Dead # 48, Avengers: The Initiative # 12 and Astro City: Beautie.

Goodbye Whedon and Cassaday. Thank you for making the X-Men kick ass again.

Flashback: LNA

It was early July in 2001 when I proposed my Lexy, Nance & Argus comic strip to Pulp’s Vernon Go and then-managing editor Annie Alejo. I consider landing that space and staying there for nine high-profile months a very good thing for me, as it opened some important career doors, eventually. I got to contribute to the sister publication, MTV Ink, shortly after my first few published installments. I used a different writing style for the comic book reviews section, naturally; I think that when I started Lexy, I also began to consider writing seriously.

Even before I drew a page of LNA, I kinda knew what I wanted to do, but I actually hesitated. My old friend John offered wise advice, as he’s wont to dispense from time to time. He didn’t know what I had in mind and I didn’t share it, but he just reminded me that above all else, “Story is King.” I knew that, I’ve always known that, but I needed to hear those three words. He told me to seize that opportunity to tell a story. I did some pretty forgettable comics back in college (a superhero project that, eek, starred the old barkada, and a painted fantasy comic book thesis). But John knew I could do it, that I’ve learned much between college and that specific point.

And so I did 18 pages for Pulp all those years ago, the first act of a bigger story. There were more things that I wanted to say through it, but I didn’t want to overstay my welcome. I just hoped that I’d be able to finish it someday.

Four years ago, a new friend, Benedict, asked if it would continue. I did promise that it would be compiled with new material when act one finished back in September 2002. Continuing it had always been at the back of my mind; Benedict pushing me to finish it actually made me pull out my old scrawly notes, stuff I’d written soon after the initial publication. They had very specific, sprawling semantics on how the story details connected, and I was glad that I was finally able to do new pages between writing jobs.

Work, of course, consisted of writing entertainment and lifestyle reviews and reports for a broadsheet. In 2002, I only had my Pulp and MTV Ink work as existing writing credits, but my old editor (the late Louie Camino) kept me around as a regular contributor. My work there led to writing for a PR agency, where I’d mostly do copy for property developer press releases. I am thankful that all these years later, I still continue to contribute and learn from doing work for the paper and the agencies. As a freelancer, I learned how to adapt to the needs of the job, and I keep discovering things that I like about writing.

I started blogging in 2005, partly to plug the Lexy, Nance & Argus: Sex, Gods, Rock & Roll comic book. I also did an ashcan of spot cartoons, LNA: Family Album, to promote it (here’s a page).

The following are things about it that I blogged about years ago, for the curious:

LNA, genesis:

When I was given the chance to try out for Pulp’s comics section, I knew that whatever I’d be creating must have its own edge and voice. I have a number of stories in my head, some of which involve a big, epic superhero setting, but space constraints didn’t exactly allow for what I had in mind originally. So I tapped into something universal, something that I hoped would make people notice and pay attention. And this was “Lexy, Nance and Argus,” about the joys and pains of people who didn’t conform with society or tradition. From there, I understood how I wanted to present it.

I’ve hundreds of characters, but when I knew what I wanted to create and what kind of story I should tell, those three protagonists surfaced. It was easy to write them at that point. They had to be distinct from each other and relatable.

Autobiographical?

Not necessarily. There are certain scenes, thoughts and ideas that might be considered things I believe in or have experienced, but I’d rather not talk about the specifics for the sake of keeping the story’s mystique intact. That way, my readers can still separate me from my work, and can keep guessing if what they’re reading is taken from reality or just creative fabrication. It’s part of the whole writing deal.

Reader response:

A few letters I have received, presumably from young people, tell me that they have been empowered by it. They have been moved or touched by what they have read, and identify with the difficulties that the characters have had to go through. Mostly, the intention of the comic book is to provoke thought, to challenge people’s old notions about inclusion, family, and sexuality. If they feel positively affected by it, then I feel that I’ve done my job of getting my messages across.

But some adults were freaked out by it. Some have even called it porn. Anyway…

It’s very encouraging that there were people who believed in it, who waited patiently for the actual comic book to come out all those years later. Many of the reactions were very particular about their favorite parts or characters (even psychic Jim--in the drawing above--has some fans, yay!), while others listed it in their Friendster, Blogger, or MySpace profiles (sometimes alongside Bob Ong books and stuff by local comics luminaries). Also, three different people compared it to Box Office Poison, which I hope to read soon.

I’m glad that it’s gotten mostly favorable reviews and reactions from different readers--students, authors and teachers--in blogs and in publications such as PDI, Inquirer Libre, Manila Bulletin, Cosmopolitan, Icon, and FHM. Margie Holmes, Danton Remoto, ProGay’s Oscar Atadero, and the book’s fans had great, heartwarming things to say about it too (check out the LNA Reviews link!).

Thanks to everyone who bought a copy or reviewed it!

‘Speed Racer’: Candy-colored car caper

(Published May 30, Philippine Daily Inquirer-Entertainment)

By Oliver M. Pulumbarit
Contributor

Bursting with candy colors and deliberately artificial-looking, “Speed Racer” is a big popcorn movie revolving around racing and fast cars that, strangely, has some problems with pacing. Filmmakers Larry and Andy Wachowski (“The Matrix”) offer their take on the beloved ‘60s cartoon series, a fun and engaging enough new world that’s drenched in trippy special effects and made lively by hypnotic cinematography.

But those eventually wane when things slow down, particularly when its family-friendly drama bits turn sappy and didactic. Not that it’s entirely that way. The character development of the driven main hero Speed Racer (Emile Hirsch) is done captivatingly, his childhood memories imaginatively entwined together with his present-day angst and brooding personality. Those flashbacks are creatively presented on the screen, comic book-like in its utilization of foreground and background imagery.

“Speed Racer” re-introduces an oddly cool family, the Racers, whose love for racing and cars is established early on and repeatedly. Pops (John Goodman) makes the snazziest, fastest automobiles in his garage, while Mom (Susan Sarandon) is ever-supportive of the guys and can handle anything with her expertise in diplomacy, cooking pancakes and making sandwiches. And Spritle (Paulie Litt), Speed’s younger brother who’s more into food than cars, is the impish but loyal fan.

Speed’s hero-worship of a deceased older brother and racing champ, Rex (Scott Porter), still drives him to compete. The promising driver attracts the attention of Royalton Industries’ head honcho (Roger Allam), who tries to lure the young man into joining his roster of cared-for “thoroughbreds.” But sure enough, Speed politely declines, preferring to stay independent. Subsequently, the naïve Racer discovers some disheartening truths behind the business, and must stave off some threats (like gun-toting henchmen and yes, ninjas!) with the help of his family and butt-kicking girlfriend, Trixie (Christina Ricci).

It’s a comprehensibly told story, although it tends to wallow and linger too much every time it touches on Speed’s pathos. He’s mopey almost all of the time, but thankfully, that’s contrasted by Trixie’s bubbliness and reckless optimism. Pops, meanwhile, comes off as a well-meaning stage father. The Racer family has endured the loss of one of their own, and the father-son arguments make sense.

Still, it’s about 30 minutes too long. The flashy racing bouts, however, are a welcome visual treat, reminding one of the fun and rambunctious Pod Race in “Star Wars Episode 1.”

The zooming cars dueling on hazardous tracks are a sight to see, but the races soon become numbing. The special effects are something to admire, making the impossible incredibly real, even when faster-paced scenes or techno-meshed backgrounds defy the laws of physics.

The humor is odd, but your kid companions will undoubtedly get it and enjoy it.

Despite some screeching moments, “Speed Racer” is still worth seeing. But don’t rush.

‘Lady in the Water’: Fairy tale fluff

(Old review. Originally published July 24, 2006, PDI-Entertainment. I’m looking forward to the filmmaker’s latest, “The Happening,” showing within the month.)

By Oliver M. Pulumbarit
Contributor

Since “The Sixth Sense,” writer-director M. Night Shyamalan has pursued his own artistic vision, creating generally profound layers in his characters’ enigma-filled realities. His ideas aren’t that original, but he gives his own spin on established mythologies, so whether they’re ghosts, aliens, and other unusual beings that defy human comprehension, he knows how to make us believe, scant information on them notwithstanding. That is still true with “Lady in the Water,” although this time, it takes us time to get reeled in because it follows a more offbeat, more fairy tale-like structure.

The story is simpler and approached with a looser sense of logic in that sense, and requires huge leaps of faith on our end. As with his other films, the lead character reels from tragedy in “Lady”, but a fateful encounter with otherworldly creatures changes his monotony forever. After apartment superintendent Cleveland Heep (Paul Giamatti) rescues a “narf”—or sea nymph--named Story (Bryce Dallas Howard) from a pursuing mythical beast, he and a few select apartment residents must band together to help fulfill her mission. By helping out through designated roles, these misfits are ultimately saving the human race as a whole, at least according to some old legends.

Of course, it wouldn’t be a Shyamalan film if he didn’t insist on appearing in it. His screen time here is considerably longer and more crucial, as he plays an aspiring author destined to influence a future world leader. That’s when things get really iffy; his presence on-screen is a distraction. There are things you just can’t suspend disbelief over, like that character, and Story’s trippy claims that she’s from an undersea world (everyone takes her word for it without ever seeing her monster attacker). The voice of reason comes from a skeptical character much later in the movie, but by then it doesn’t really matter. Again, it’s like a simplified bedtime story that doesn’t bother with necessary details.

But the script is well-written in parts, particularly those involving an all-knowing, surly film critic character (Bob Balaban), who vocally points out the allusions of events and people to Cleveland and, well, to himself. Too bad the assemblage of characters here is at times disaffecting and too contrived. Among them is a kid who sees Story’s future by staring at cereal boxes (eh?), and a petulant woman who knows all (all!) the key characters and symbols of the narf legends by heart. There are many convenient plot elements that help Story—and the story!—move forward, including a timely placed deus ex machina that predictably lets the characters wriggle out of the whole mess unharmed.

It ends too abruptly, although it doesn’t spoon-feed the ceremonial fare-thee-wells anymore like it did during most of the movie. Howard’s partly amnesiac Story is just okay, but she appropriately radiates an aura of divinity, even when she’s immobile most of the time. No, we really don’t see her world, which probably would’ve spiced things up visually.

While it’s not the usual Shyamalan twist-filled crowd-pleaser, “Lady in the Water” is still about humanity and the human condition, even when they’re forced to commune with the bizarre. It isn’t that big a departure from his other fantasy-laced films, but it lacks some of the more complex puzzles and rewarding resolutions that his other, better-written films have believably presented.

Another Sun-Soaked Season Fades Away

My sleeping schedule’s outta whack again. I’ve been grabbing the chance to sleep when I can, since work has been unpredictable these last couple of weeks. Lack of z’s notwithstanding, it was an okay summer. Not as eventful as last year, but nevertheless a good one. Learned a bunch about different businesses through work for the agencies. Been itching to draw and tell a story through comics again. Been questioning life and its perplexing mysteries again, too.

Anyway, some recent things:

1. Saw Sex and the City. Wow, they made it a PG-13 movie (or R-13, as it’s called in SM theaters). The deletions were annoying; still, I suppose one way for it to make money is to have it shown at SM’s cinemas, too. But then again, it’s originally geared for adults, and it’s damn puzzling to watch it with jarring cuts. Oh well. I mostly liked it, though; it wasn’t perfect, but it ran like a multi-episode marathon. I missed those characters.

2. Got some Tori Amos CDs. Thanks, Sherwin! Am enjoying the Across the Universe OST double CD Mark lent me, too, aside from the music I got last week.

3. Good comics this week: Giant-Sized Astonishing X-Men, X-Force # 4, All-Star Superman # 11, New Avengers # 41, Final Crisis # 1 and Young Avengers Presents Stature. Last week, Christos Gage’s awesome Avengers: Initiative came out, too. And the summer had its share of mostly tightly written stuff, such as JSA, the first two Secret Invasion issues, Drew Goddard’s ongoing Buffy arc, and the Marvel Handbooks (the Marvel Atlas, Ultimate Handbook, and Iron Manual). It’s a great time for superheroes.

4. Been eating some chocolate pasalubong. Reese’s peanut butter cups are still fricking addictive. Sweet.

5. Saw 21. Across the Universe’s Jim Sturgess is still damn charismatic and talented. And it’s funny how his character blindly follows a beckoning stranger (a classmate) from the library into another room. Weeks later, he follows the same guy, now a friend, into a restroom cubicle. It’s like he was expecting something else, really.

Prince Caspian and the Revolution

John and I enjoyed The Chronicles of Narnia: Prince Caspian. Sure, it had its plodding parts (boring, boring villains!), but its young actors have lost their obvious novice awkwardness and now comfortably reprise their roles. As more hardened warriors, the returning sibling rulers of Narnia figure in some breathtaking battle sequences. Darker, more atmospheric, and engaging, this sequel is one of the better popcorn epics of the summer. The story’s quite flimsy, but the expert handling of disparate aspects--mainly cutesy and horrific parts--diverts and keeps things from becoming truly bothersome. Take a bow, Andrew Adamson.

Surprisingly good stuff. It opens next week.

Lennon, Merchant, Maniacs

Thanks to my sister, who bought these wonderful CDs for me. Very cool pasalubongs.

The double CD Instant Karma: The Amnesty International Campaign to Save Darfur gathers artists like U2, Regina Spektor, Jack Johnson, Jakob Dylan, Avril Lavigne, Aerosmith, REM, and many others. They sing 23 John Lennon songs. I didn’t know that the ballad in “Mr. Holland’s Opus,” the sweet “Beautiful Boy,” was written by the music visionary until I heard it here. It’s a beautiful compilation that means to draw attention to the strife and human rights violations in Darfur, Sudan.

Good ol’ Ms. Merchant’s “Retrospective” compiles 13 songs from her solo work. “Jealousy” here is a single version; that, and the singer-songwriter’s notes on these chosen song-stories are good reasons to get it if you have album versions of them already. In the booklet, she writes, “I think that we all have the need and desire to make order out of the chaos of our lives. With memories that would otherwise be random, we draw timelines and divide them into little epochs… I’m grateful for this period of retrospection.”

Mary Ramsey’s second outing as 10,000 Maniacs’ vocalist, meanwhile, sounds more relaxed and playful in this 1999 recording. The songs have a more gleeful quality to them as well, solidifying a more distinct lightness to most of the material. Like the 1997 album “Love Among the Ruins,” this release is mostly devoid of thought-provoking messages and occasional lyrical grimness (which made the Maniacs such a special, edgy band). The feelgood and mellower vibe works, though; it’s not the Maniacs you remember, but “The Earth Pressed Flat” still has infectious, ear-pleasing stuff.

Prior to getting these, I bought OneRepublic’s “Dreaming Out Loud” album and Nancy Castiglione’s debut dance CD “Nancy Jane.” OneRepublic’s really good; the first few spins easily remind me of talented bands like The Fray and Keane, but they definitely have their own ingratiating alt-rock sound. And Nancy Jane, what a cool CD! I knew some songs were co-written by pals Benjamin Gabitan and DJ Brian Cua. But I didn't know how they sounded. When I heard a radio ad that played short parts of the songs, I just had to get it. Lovely!

‘Legion of Superheroes’: The ‘hidden years’ of young Superman and pals

(Published May 27, Philippine Daily Inquirer-Entertainment)

By Oliver M. Pulumbarit
Contributor

Superman’s old gang stars in the animated series “Legion of Superheroes,” a vibrant and colorful re-interpretation of the fan-favorite DC Comics team of 31^st century crimefighters. The show’s first season streamlines a bunch of things, making it easily comprehensible for new or younger audiences, without alienating its older fans.

For almost five decades, the interplanetary force made up of teens with super-powers has undergone multiple conceptual revamps in the monthlies, and has included icons Superboy and Supergirl in its eclectic, ever-growing roster. But while the members’ histories or personalities have gone through major changes, the idea that the team is composed of heroes from different planets remains.

After successful multi-character cartoon shows such as “Justice League Unlimited” and “Teen Titans,” the Legion is the next DC super-group deservingly given the small-screen serialization treatment. It has a young Superman among its ranks as well, giving it something instantly recognizable. Just like in Legion lore, Clark Kent is visited by time-traveling Legionnaires in Smallville, prior to his move to Metropolis. He travels to the future and joins them in subduing threats posed by super-criminals.

Being with other young people with powers makes this period crucial to Superman’s growth as a person and as a hero, according to the comics, and that’s replicated finely in the cartoons. He also inspires his teammates, who only previously knew him as a revered historical figure, considered by countless worlds as the mightiest of all superheroes.

Characters such as Lightning Lad, Saturn Girl, Bouncing Boy, Triplicate Girl, Phantom Girl, Timber Wolf, Brainiac 5 and several others hail from radically different home planets, but mostly enjoy each other’s company, a testament to the era’s generally harmonic co-existence of many worlds.

Episodes are easy to get into; season one’s stories are a mix of classic and new Legion moments, but they’re always about heroism in the face of impossible adversity. In one episode, Superman gains an admirer-stalker in the wealthy adventuress Alexis, an unhinged descendant of one of the DC Universe’s vilest supervillains. Another good episode focuses on a hilarious recruitment drive, where misfits of all shapes and costume designs try out for Legion membership. Meanwhile, the dramatic sacrifice of one of the Legionnaires in the season-ender reiterates how serious galaxy-saving is for these heroes.

The show’s continuity is tight, but each episode is contained enough to be jumping-on points. While “Legion of Superheroes” isn’t as edgy as the beloved “Justice League” series, it still has balanced doses of action and lively character development. It does get somewhat dark in the second season, with the addition of an unexpected member, and the debut of a popular and dreaded arch-enemy that appeared before in the comic books.

Young Superman and his unusually focused, emotionally mature peers unhesitatingly confront the toughest foes--costumed crooks, world conquerors and cosmic troublemakers--in these addictive “hidden” adventures. Sadly, “Legion of Superheroes” only lasted two seasons (26 episodes). That’s too bad; it’s been consistently fresh, smartly written, and a diverting galaxy-spanning show that brought animated life to some classic comic book concepts.

“Legion of Superheroes” airs on Jack TV, and soon on Cartoon Network.

Teen Woof

Unruly hair! Check out my Multiply site. I’d have titled the album “Yesterday I Got So Old” or “Where Did the Time (And My Hair) Go,” “Blame It On My Youth,” or “Not Pics of My Old Girlfriends” (don’t ask). Old unearthed time capsule, once again. Innocence Mission redux.

High School Quizzical

Holy jeez. I just had to share this. Further Proof of Nerdity. Yeah I was the overachieving little schoolboy. Some medals and a trophy I won during my time at Benedictine Abbey. I believe this pic was taken after my high school graduation. For a detailed list of some of my old contest victories, check out the May 2007 archives. It's there somewhere.

New Mutants for Old

Did this New X-Men drawing for Al (Toshi Nintendork). I’m swapping my original artwork for his copy of the FCBD X-Men. I read that already, but I’d still like to own it. Click on the drawing for a larger image. Too bad this winner roster didn’t continue; only Rockslide and Dust are in Young X-Men (which is hard to get into, because Cyclops is being portrayed as a reckless jerk).

Anyway, I did this last night. It was totally a spur of the moment thing; I grabbed the chance to do it when Al texted that he got a FCBD Jughead already (which I was supposed to trade for the X-Men issue, but I didn’t find one). I dropped everything and got really inspired to draw this.

A pity the New X-Men series was cancelled after the Messiah Complex crossover; it would’ve been great to see writers Craig Kyle and Chris Yost continue this excellent lineup’s adventures.

40 Gay Heroes

Thank you, Book Sale. Ellen DeGeneres tops a list that includes Matthew Shepard, Greg Louganis, Elton John, John Waters, the Indigo Girls and other influential gay people. The engrossing September 2007 issue celebrated the 40^th anniversary of the groundbreaking The Advocate magazine, which continuously focuses on many issues concerning the GLBT community in the US.

Got the 136-page special for only P65. What a wonderful magazine. May it and its talented, caring writers continue to help and inspire gay men and women for more decades to come.

‘The Riches’: The family that steals together

(Published May 19, 2008, PDI-Entertainment)

By Oliver M. Pulumbarit
Contributor

The Malloy clan is probably one of the strangest TV families you’ll ever meet. They’re a tight group of con artists trying to pull off their most difficult scam yet in the unique drama “The Riches.”

The weekly series created by Dmitry Lipkin centers on a group of “travelers,” thieves that have subsisted and existed for generations in America by preying on virtually anyone who lets his guard down.

It’s uncommon for TV shows to use those that dabble in shady dealings as protagonists, but this unusual perspective--that of a thieving nomadic family’s--is innately intriguing. We’re hooked from the start, and more importantly, we root for these people we obviously wouldn’t care for in real life.

In “The Riches,” the family that steals together stays together. There’s a fascinating dynamic to a group that values mutual respect, while rationalizing its systematic preying on others.

Moving around in their RV for years, the Malloys have always been resourceful, constantly improvising and sneaking off with other people’s money wherever the road leads them. Interestingly, while they’re robbers, they don’t resort to violence to achieve their goals.

Fleeing a community of fellow thieves after some serious disagreements, Wayne Malloy (Eddie Izzard), his wife Dahlia (Emmy-nominated Minnie Driver) and their three kids ponder their uncertain future. In an ensuing chase, their pursuers cause a terrible road mishap that kills a rich couple. Well, make that the “Rich” couple. The Malloys try to resuscitate Doug and Cherien Rich, but fail. They visit the deceased’s posh, newly bought Louisiana home, and after much debating, they decide to move in and pose as the new neighbors, the Riches.

It’s a crazy idea, but surprisingly, it works. As a show, “The Riches” works, too; every episode of the first season offers different morality quandaries that strongly latch onto the familial and individual growth of the Malloys. It’s immensely satisfying to see the identity thieves scramble to maintain their cover, learn things they never expected, and as Wayne put it, “steal the American Dream!”

But it’s not solely about deception; half the time, there are crucial truths that this new life reveals to them. The origin and consequences of Dahlia’s secret drug addiction are creatively tackled, while Wayne’s compulsion for seemingly unconquerable challenges is consistently presented. Amusingly, their kids--brooding teen Cael (Noel Fisher), musically inclined Di Di (Shannon Marie Woodward), and cross-dressing Sam (Aidan Mitchell)--have assimilated into “normal” life quickly, without letting go of their real personalities and special skills.

While scenarios are rife with either smart humor or serious drama, the narrow escapes are hokey or too convenient occasionally, most notably when Izzard’s character whips up pep talks that don’t really make sense. These often manage to make him sound sagacious--even eccentric--to his new coworkers. But these don’t always work.

Despite this, you believe that this family is struggling really hard to adapt and blend in. And apart from siding with them, you’d easily enjoy watching this unconventional unit squirm through their unending charades.

“The Riches” airs Tuesdays at 9 p.m. on 2^nd Avenue.

Avengers: The Initiative, a year later

Thirteen issues (counting the important Annual) later, Avengers: The Initiative remains the most exciting of the three current Avengers titles, even when there are only a handful of crimefighters-turned-instructors that officially belong to Marvel’s star super-team.

It’s still about the post-Civil War hero landscape, where registered adventurers are required to undergo strict training prior to being issued their superhero licenses. New characters like Komodo, Cloud 9, Hardball, Trauma and MVP were developed alongside pre-existing ones such as Constrictor, Slapstick, Taskmaster, Triathlon, the irredeemable Ant-Man, and many others.

Co-writers Dan Slott and Christos Gage have been great; they’ve worked some nostalgia-triggering components into it, but it still mostly tackles how the Marvel U has changed. Fresh perspectives and a revolving focus on its large cast keep things from becoming dull. It’s amazingly uncluttered, for something that has characters with complex histories galore.

Conspiracies, transformations and a bittersweet ending to the yearlong arc have been handled with much care, the writers’ and artist Stefano Caselli’s enthusiasm for the project clearly evident throughout those issues. The substitute artist, however, is seriously lacking when it comes to facial expressions and action scenes.

Art inconsistencies aside, Avengers: The Initiative is consistently well-written. Issue 13 starts with the introduction of a new batch of recruits, a mix of familiar and obscure characters that, hopefully, will be just as immersing as the previous group of trainees.

‘What Happens in Vegas’: Conditional love, short-lived honeymoon

(Published May 13, PDI-Entertainment)

By Oliver M. Pulumbarit
Contributor

A drunken wedding leads to a regrettable morning after, in the pretty average love-hate rom-com “What Happens in Vegas.” This time, what happens in Vegas doesn’t stay there, as it becomes painfully clear to two vacationing strangers who impulsively tie the knot after a night of non-stop partying. It’s exactly what its trailer promises; it pretty much encapsulates how predictably normal--and cloyingly cute--this movie is.

But it’s not without some good laughs. “What Happens in Vegas” executes its situational humor decently, from scenes that depict mini-gender battles to those that portray typical relationship blunders.

Don’t expect anything profound or clever, though, as it’s not a movie that doesn’t stray too far from the parameters of the conventional comedy or romance flick. It’s light, sometimes shallow, and doesn’t require much thinking from its viewers.

It’s quite simple and an easy watch: Cameron Diaz plays Joy, a competitive career woman who’s a doormat when it comes to her relationship with her unappreciative beau Mason (Jason Sudeikis). After the unavoidable breakup, she flies to Las Vegas for a change of scenery, and runs into Jack (Ashton Kutcher), a slacking and unfocused furniture-maker with problems of his own. They hit it off quick, but they don’t remember much from the night before. They freak out when they realize their mistake and their glaring incompatibility.

But after an argument, the newlyweds win millions of dollars, and the impromptu lovers-turned-enemies waste no time in fighting over it. Sentenced to “six months hard marriage” by a judge (Dennis Miller), who wanted them to feel and understand the consequences of their rash actions, Jack and Joy pretend to get along for the sake of their frozen money.

Of course, they scheme moronic plots to discredit each other, so the offended party will be awarded the entire cash prize. They spend most of their “honeymoon” creating devious plans, pulling them into each other’s oddly comforting worlds, in the process.

Kutcher’s part seems like a mellower extension of his “That ‘70s Show” character, while his devious pranks automatically remind you of his “Punk’d” TV show. He’s in his element, obviously, but he’s made to look like a likeable loser, someone who’d attract a similarly nutty and unsure person like Joy.

That pairing keeps this not-so-subtle comedy quite bearable; Diaz and Kutcher have charm and personality points easily covered. The dialogue is okay, but it’s not great, although there are a few laugh-out-loud moments. Some of those involve Jack and Joy’s best friends, played by Rob Corddry and Lake Bell, respectively.

It’s not shoddily done, but “What Happens in Vegas” doesn’t exceed its prefabricated design. The material is able to poke a little fun at how some take the opportunity to marry for granted, though. And while the film quickly drains its conditional love and material greed angles, it’s still a union of typical elements that doesn’t spiral out of control.

Legionnaire Lovin’

Three Legions!

Woohoo! My fave Legion is back! At least for the Final Crisis: Legion of Three Worlds mini by Johns and Perez. Got this pic from Newsarama. Don’t know why it has the same Superman and middle image from DC Universe 0, but I’m not complaining. Nice contrasting versions of the teams.

The post-Zero Hour-“Archie” Legion, I miss it a lot, especially the Abnett, Lanning, Coipel and Batista issues. That universe just abruptly ended, and the version that replaced it wasn’t that great, mainly because most of the characters seemed interchangeably dour. The resurrected pre-Crisis version looks good, but I wasn’t really into the characters back then, because of the already-complicated histories.

Still, I can’t wait for this. The more Legionnaires, the merrier.

We Want Everyone

A year ago today, I was recovering from my first ever hangover, after a fun, crazy night of music, beer and friends. As soon as I felt better, I went to Makati for John’s birthday lunch. Used up some nifty gift checks and got the most awesome meal ever. Speaking of, Happy Birthday, John! Let’s eat somewhere different.

It’s been a busy week. Been feeling tired today. I want to do something for work earlier but right now I just feel lethargic and uneasy. I know that this, too, shall pass. But at this moment, I’m wallowing, rather bittersweetly, with this classic song playing in the background. I can so relate to it. Sigh.

No One Is To Blame
Howard Jones

You can look at the menu but you just can’t eat
You can feel the cushions but you can’t have a seat
You can dip your foot in the pool but you can’t have a swim
You can feel the punishment but you can’t feel the sin

And you want her
And she wants you
We want everyone
And you want her
And she wants you
No one, no one, no one ever is to blame

You can build a mansion but you just can’t live in it
You’re the fastest runner but you’re not allowed to win
Some break the rules
And live to count the cost
The insecurity is the thing that won’t get lost

And you want her
And she wants you
We want everyone
And you want her
And she wants you
No one, no one, no one ever is to blame

You can see the summit but you can’t reach it
It’s the last piece of the puzzle but you just can’t make it fit
Doctor says you’re cured but you still feel the pain
Aspirations in the clouds but your hopes go down the drain

And you want her
And she wants you
We want everyone
And you want her
And she wants you
No one, no one, no one ever is to blame
No one ever is to blame
No one ever is to blame

‘Iron Man’: Knight in hi-tech armor

(Published May 5, Philippine Daily Inquirer-Entertainment)

By Oliver M. Pulumbarit
Contributor

This is one movie that will make the geeks happy.

Comic book hero Iron Man gets translated to the big screen surprisingly well, updated to fit in a contemporary and much edgier setting. Marvel’s playboy-superhero is made extra-tangible by the intelligent screenplay, Jon Favreau’s confident direction, and of course, Robert Downey, Jr.’s excellent portrayal. Effects-aided slugfests, nicely timed humor and drama, respect for established Iron Man lore--yup, this one’s bound to keep the comic book fans happy.

“Iron Man” is accessible for those who never read the series, too, especially since it gives the main character, Tony Stark (Downey), a thorough and riveting origin. Some details have been changed to make it more plausible, but the basic premise remains the same.

The industrialist and genius weapons inventor is wounded and abducted in Afghanistan, surviving a chest wound with the help of a device that keeps shrapnel from reaching his heart. Forced to re-create one of the most destructive weapons in his arsenal, Stark secretly makes a special suit of armor instead. Using it to escape and beat up his captors, Stark experiences an epiphany, which bodes ill for his weapons-making company and his business partnership with smarmy Obadiah Stane (Jeff Bridges). With cutting edge technology at his disposal, he creates a new and modified body armor, one meant for fighting heavily armed bad guys.

“Iron Man” does a number of things right, which is good news for fans, considering that superhero movies often have to compress and summarize years’ worth of stories into one comprehensible film. It’s able to pick up and play with plot points and combine them into cohesion. Moreover, it’s a nice introduction to the superhero’s world, made somewhat sensible, even alluring, by its fantastical science fiction concepts.

It rightly shows Tony Stark as a flawed but altruistic man. He beds and forgets women, and drinks way too much (which foreshadows his bouts with alcoholism, possibly in a sequel). But he treats his secretary, Pepper Potts (Gwyneth Paltrow) with utmost respect, and becomes proactive when he feels the need to right some terrible wrongs. Unlike many superheroes, his life-altering impetus came later, and he enjoys his civilian life. Well, he does have tons of money. He has an odd but understandable rapport with machines; his house and armor are even equipped with an artificial intelligence that he converses with!

The Iron Monger as the first movie’s super-villain works pretty well, too. The armored fisticuffs between the two foes are characteristically popcorn movie-kinetic. You’d wish that it went on longer and became crazier, though. It would be interesting to see Iron Man’s visually diverse rogue’s gallery appear in future sequels.

Downey, again, is incredible in it, and the witty script feels tailor-made for him. And given the cool, foreshadowed elements such as Jim Rhodes (Terrence Howard) eventually taking over the Iron Man role, and the important, fan-pleasing scene after the end credits, yeah, a sequel would be something to look forward to. “Iron Man” is a solid, smart and entertaining film, and it’s been a while since Marvel had one.

Brain Freeze, Main Sneeze

I like being a freelancer. I get to do things more than half the time at home, usually shirtless and barefoot, and on hours when I feel most comfortable. But sometimes, I need a change of pace. I eventually get tired of the routines, even when I’ve grown to love my different jobs.

Two days ago, my eyes just glazed over as I looked at reference material. Incredibly bored, I kept distracting myself with things unrelated to my work, just to find some inspiration. It came, but it took some time. I finished two articles.

I barely had four hours sleep when new work came in. Two new, unannounced articles were due that afternoon, so I did them as soon as I could. I had to pick up reference at the office later for another new assignment, so I got out of the house by 7:15 p.m. It was still warm outside, but the bus I took had its aircon on full-blast. I was already coughing earlier that day, so I kinda expected it to worsen, eventually. And it did.

But I didn’t think of it too much then, because they were showing some campy ‘90s flick starring Nanette Medved, Gabby Concepcion, and, heh, Rey “PJ” Abellana. It was just a damn trainwreck; you can’t take your eyes off of it.

Anyway, I got to my destination. The office had the aircon off. I was already feeling a mild headache because of the stuffiness and my lack of sleep. Still, I hung out and drank with friends Mark and Sherwin soon at a nearby bar that played ‘80s New Wave (where an old fellow Inquirer contributor, cool guy Ruben Cruz, was drinking with co-workers). Got to Edsa by 2 a.m., and once again, the bus I got on was practically freezing, too. By the time I got home, I was feeling bad, so I quickly cleaned up and went directly to bed. My head was killing me.

I got phlegmy and feverish by the morning. My nose was clogged, too. I took paracetamol, put on vapor rub, and dozed off a few times. Yeah, I missed the Speed Racer preview at the Imax because of it.

Hope I get better soon. Still, I can appreciate hours of just doing nothing, and not thinking about anything. But even when I’m not sick, my brain wants to go on vaycay sometimes, and that translates to restlessness and a desire to do something else (oh, digression: I think I’d like to own a lomo camera, because those shots with the skewed perspectives, symmetrical panels, and round frames are growing on me. Plus, it looks like it might prove useful for some assignments).

Anyway, yeah, I’ll get better. Mind over matter. This is nothing.

Deadlines are looming.

Woman power fuels ‘Terminator: The Sarah Connor Chronicles’

(Published May 1, Philippine Daily Inquirer-Entertainment)

By Oliver M. Pulumbarit
Contributor

Science fiction and action movie icon Sarah Connor, played by Linda Hamilton in two previous blockbuster “Terminator” movies, is revived in a weekly TV series that expounds on its mythology. “Terminator: The Sarah Connor Chronicles” decompresses the man-versus-machine premise, giving new life to its tough, doomsday-averting heroine.

Sarah, mother to destined leader of the human resistance, John Connor, is back. But it’s not the gritty, tenacious warrior-woman we remember. Taking over the role is Lena Heady (Queen Gorgo in “300”), who has a less commanding a presence, and not as finely developed muscles as Hamilton’s gritty Sarah Connor back in the day.

Heady, however, is just as good an actress. She lends credibility to the character, who has grown a little complacent a few years after the events of “Terminator 2: Judgment Day.” That’s where the story picks up; it disregards the third “Terminator” film, “Rise of the Machines,” where Connor was written out as having succumbed to cancer.

“Sarah Connor Chronicles” centers on the titular character and her teen son John’s (Thomas Dekker) renewed war with relentless Terminator cyborgs from the future. But their saga has grown to include a new female Terminator, Cameron (Summer Glau), programmed to protect John from all threats. Time-traveling to 2007, the fugitive trio tries to prevent Armageddon once again, avoiding undercover Terminators and the authorities along the way. They discover artificial intelligence programs and projects that could evolve and would rid the planet of its human inhabitants.

The pacing of the series requires some getting used to. Certain episodes are able to break free from the typical chase-fight-flee parameters and elaborate on meaningful human interaction. The movies couldn’t do this, on account of their limited span. But the action scenes, integral to the “Terminator” films, are quite contained and not as brisk here. Also, some episodes are extra-stretched to the point of predictability.

Still, Glau amusingly plays a Terminator that’s stoic and unblinking one moment, and a convincingly eccentric high school student the next. And the addition of Brian Austin Green as a badass rebel soldier from the future nicely shakes things up for the three main characters, as he’s revealed to have really important connections to them.

The show can still get better by exploring story angles that the movies missed, such as the changing mother-son dynamic. A few episodes into the first season, some interesting story possibilities have already presented themselves. It makes one wonder where it’s headed, given its deliberate distancing from the third film, where the dreaded robot-ruled future becomes a reality.

Arnold Schwarzenegger as the T-800 isn’t missed all that much; the series stands impressively without him. Heady’s narration bookends every episode, often alluding to the deeper symbolism of Sarah’s turbulent journey and her seemingly never-ending battles. But while her intriguing chronicles deserve watching, the show needs to speed things up and make things less mechanical.

“Terminator: The Sarah Connor Chronicles” airs on C/S-RPN and AXN.

Rein in the Summertime

To Whom It May Concern,

I remember things from summer:

So high on tongue.
Music in our heads.
Rubbing me the right way.
The two-sided romance.
Ecstasy under cartoon sheets.
Doing your mouth justice.
This mutual seduction.
A warm hug.
You as a pillow.
Schoolboy crush.
Fun in a bottle.
Perfection in a punchline.
Stolen kisses.
That goofy grin.
Soulmates melding.
Viewing you from that special angle.
The sweat between bodies.
Salvation on a mattress.

Nostalgically Yours,

Someone Who Misses It

Bizarre Behavior

Man, viewing that controversial rectal surgery video once is enough to make you squeamish on different levels. I finally saw it yesterday. You’ll just feel bad for the poor patient, who was violated and humiliated many times over—first by the stranger who abused him when he was unconscious, next by the rowdy bunch in that operating room, and most recently by the idiot church spokesman who blamed him for having gay sex.

Horrible, really.

Iron Maniac

Iron Man opens today. Saw it last night at TriNoma. Whoa, it didn’t suck. Actually, it’s pretty darn good! John, Benedict and I were entertained by it. Stay put when it finishes, because they’re showing something really cool and important after the end credits.