Your Choice

I found some of my old Choose Your Own Adventure books. Good to know they’re still pretty intact, probably untouched for about two decades in that old shelf. My favorite was “House of Danger,” which has a geeky, white, freckled teen adventurer. I didn’t pay much attention to those details before; as a kid, I just automatically accepted the male persona, because I knew that other Choose Your Own Adventure books had female perspectives.

Reading it now, I’m discovering that they really are for younger readers, in the sense that grown-up me isn’t as “adventurous.” While my younger self chose without truly thinking about the possible consequences--and choosing the more dangerous routes often led to more exciting stories--I now choose the more sensible, smarter options. When I “played” it a few times last week, I approached most situations in that book with skepticism and caution. I did read where the other choices led after my adventures ended, just to see how differently things went.

It’s cool that some details were entirely and deliberately different. The truth behind a character’s identity in “House of Danger” changes from tale to tale. The primary mystery story can shift into science fiction, crime, or horror stories, depending on the choices the reader made. Those well-drawn black and white illustrations also accompanied the stories nicely, and made certain descriptions clearer.

I’m glad that these books are being reprinted, albeit with different covers, according to the CYOA Facebook page. Anyway, I found a funny parody image posted on Tumblr. Behold.

Days Go By

Interviewed a History Channel host last Thursday. Interviewed a chef yesterday. My DeviantArt gallery received its 5,000^th fave two days ago. So yay.

Haven’t been getting enough sleep. Must do that soon. I’ll just post a quote relating to art and worship. I’m not a fan of Marilyn Manson’s music but I really like what he said some time ago:

“I think that art is the only thing that’s spiritual in the world. And I refuse to be forced to believe in other people’s interpretations of God. I don’t think anybody should be. No one person can own the copyright to what God means.”

Darker, more chaotic ‘Camelot’

(Published Aug. 15, PDI-Entertainment)

By Oliver M. Pulumbarit

Contributor

A darker, grittier interpretation of the Arthurian legends, the series “Camelot” focuses on the trials of a young King Arthur, who must replace his recently deceased father Uther and fend off attacking usurpers. Familiar characters are made more human and cast into a more treacherous and chaotic world, which may make viewers forget the mythic figures’ predestined roles from time to time.

It tweaks the common mythology: the cruel King Uther (Sebastian Koch) was poisoned by his vengeful daughter Morgan (Eva Green), whom he exiled to a distant nunnery when she was a child. But another heir to the throne is revealed and retrieved by the king’s sorcerer Merlin (Joseph Fiennes). Raised by commoners, the carefree Arthur (Jamie Campbell Bower) is baffled by the revelation, but eventually accepts it and accompanies Merlin to a partly ruined stronghold. The structure was built by the ancient Romans, and is now known as Camelot.

Arthur is declared king in the nearly uninhabitable fortress. He is challenged by his half-sister Morgan, but after failing to take the throne by force, she resorts to sorcery and duplicity while guided by her scheming nun mentor, Sybil (Sinead Cusack). Arthur begins carving his own legend, marshaling forces loyal to his father and winning over skeptics after uprooting the enchanted “Sword of Mars.”

The 10-episode series has very few similarities with the ongoing fantasy show “Merlin,” which mostly offers more escapist fare. “Camelot” is often dreary and discomfiting, primarily because of its depictions of more violent situations. But the characters are still imbued with unpredictability despite countless prior reinterpretations. Merlin, for example, is portrayed as perplexingly moody and flawed. In one episode, careless mistakes he made during his acquisition of the sword Excalibur end in tragedy.

Some slow-developing subplots require patience, but there are noteworthy portrayals. Claire Forlani surprises with her sexy turn as the kind and impassioned widow Queen Igraine. Scene-stealing Eva Green’s disgruntled Morgan ultimately makes watching the show rewarding; she’s deliciously over-the-top as the commanding coup plotter, but amazingly subtle when showing her vulnerable side. Among all the “Camelot” characters, Morgan is rightly the most imposing, her dark but intriguing revenge story a crucial contrast to Arthur’s more “ordinary” tale of transformation.

“Camelot” airs Tuesdays, 9 p.m. on AXN Beyond.

Just Awww…

Neil Patrick Harris, David Burtka and their twin kids. Cuteness overload.

‘The Killing’ a nail-biting puzzler

(Published Aug. 14, PDI-Entertainment)

By Oliver M. Pulumbarit

Contributor

Inspired by a successful Danish TV show, the American murder mystery series “The Killing” dramatically follows the investigation of a horrific and puzzling crime. Like “Twin Peaks” and “Veronica Mars,” the show has a female victim whose demise brings attention to the various suspicious characters in her community.

The body of high school student Rosie Larson is found by homicide detective Sarah Linden (Mireille Enos), whose impending retirement is delayed by the new investigation. Linden is joined by rookie detective Stephen Holder (Joel Kinnaman), who helps sniff out clues and possible suspects. Emerging details point to different angles, painting Rosie as someone with more complicated secrets than the average teenager.

“The Killing,” set in Seattle, Washington, is unlike typical police procedural programs with cleanly solved crime mysteries of the week. The show takes its time, elaborating on that single case while also focusing on the detective protagonists’ lives.

Initially, it does a good job of creating a paranoid atmosphere. At times, it seems that certain suspects are definitely and inescapably guilty, only to be cleared by incontrovertible evidence. That becomes routine for a few episodes and the intertwined stories of the seemingly unrelated characters intrigue.

Frustratingly, the identity of the killer won’t be revealed until season two, according to reports. Despite a finale that doesn’t answer important questions, and actually inspires new and tougher ones, season one still has cohesive elements.

The moody visuals enthrall and the layered characters present interesting conundrums. There are outstanding performances by Enos, Kinnaman, Billy Campbell (as a beleaguered politician) and Michelle Forbes (as Rosie’s grieving mother), as well.

Its macabre mystery isn’t as oddly engrossing as the ones in the aforementioned shows, but the puzzle-solving still becomes involving whenever sad or sordid details are revealed.

“The Killing,” previously on Jack TV, now airs on Fox, Sundays at 9:50 p.m.

Smurfing USA

It’s quite baffling that some of the live-action, Hollywoodized versions of beloved ‘80s cartoons barely focus on the main characters. The “Transformers” movies gave more attention to its human character Sam Witwicky and his messy foibles than the culture of the titular alien robots. To a lesser extent, the second “Chipmunks” movie had the human co-stars’ unnecessary romance angle.

“The Smurfs” pretty much goes the same route; the “three-apples-high” blue creatures find themselves in the modern world, specifically in present-day New York, affecting the lives of the loving couple they come in contact with. Instead of exploring Smurfs lore, their first film adventure detours into human family drama territory, becoming more concerned with the career and home situations of spouses Patrick (Neil Patrick Harris) and Grace (Jayma Mays).

Harris and Mays are unquestionably good (you do forget that he regularly plays TV manslut Barney Stinson; you also forget that she’s “Glee’s” obsessive-compulsive guidance counselor Emma), but we really didn’t need to see their characters. We didn’t need to see the Smurfs in New York, either. Time spent focusing on characters like Patrick’s boss (played by Sofia Vergara, who sounds and acts like her “Modern Family” character) could’ve been used to develop the chosen Smurfs.

This live-action treatment gets redundant after a bit. A fully animated film should’ve been greenlighted instead. The colorful scenes depicting the goings-on at the hidden Smurf village in the first couple of minutes show possible Smurf-centric storylines that should’ve been pursued and utilized. “The Smurfs” isn’t a bad family flick, it’s just that the film really isn’t about them at all.

“The Smurfs” opens today in Metro Manila.

Emperor’s New Clothes

My friend Niki Yarte posted this on his Wall:

“I swear: Some bloggers should never be allowed to write or to be read or to even profit from it. Yes, this copywriter is heavily offended.”

My thoughts exactly. Well, that’s how the Net’s changed everything; while there are outstanding and worthwhile blogs and sites, there are also those that are just too painful to read. It’s especially puzzling that some bloggers even get invited to events despite knowing next to nothing about the rules of grammar. But then again, in this age of short attention spans and competitive publicity machineries, everyone--or, anyone with internet access--is being utilized to sell, publicize, even casually talk about all sorts of products. Some may dismiss proper grammar as unimportant in their blogging, but that’s just laziness. If they wish to be taken seriously, they’d consciously find ways to improve and communicate their ideas better to their readers. Or, if they really find it difficult to write in English, eh di mag-Tagalog na lang.

Mothers of Reinvention

I can’t remember where I got this cool picture, exactly, but it’s been posted at different sites for a while. Pop stars Lady Gaga and Madonna watched a fashion show last year, which must have blown the minds of the other attendees.

Anyway, Madonna’s reinvented herself countless times since the ‘80s. With every album, she takes on a new identity, transforming and evolving with her new music. Gaga’s reinvention, at least attire-wise, is almost daily. It’s perpetually Halloween for her, so I’m wondering, will she get sick of it one day? Years from now, a more mature Gaga, performing her music in less attention-grabbing outfits, even “regular” clothes--is that possible?

It’s interesting that both inspire with their music and with their views. Gaga, of course, champions the underdog, especially gay people, while Madonna’s largely about liberation and female empowerment. Musically, as with everything they do, they can’t win ‘em all. Revered folk goddess Joni Mitchell likened Madonna to Nero, “the turning point” for the supposed dumbing down of pop music.

Country-folk singer Jewel, however, acknowledged the importance of Madonna in a 1997 Rolling Stone interview: “My favorite quote is Liz Phair’s. She said, ‘Madonna is the speedboat, and the rest of us are just the Go-Go’s on water skis.’ Madonna paved the way in so many ways. She was never afraid to break down taboos… she taught a lot of women of my generation to believe in what you’ve got.”

Singer-songwriter Tori Amos, in a separate interview in the same issue, also recognized Madonna’s significance: “Madonna is social. The music is not really important. The music was a backdrop for her. Please understand when I say this that it doesn’t take away at all from her emancipation. A woman called Madonna--it was very important that that happen.”

I like that both Gaga and Madonna sometimes challenge listeners of their music, and viewers of their videos with their use or interpretation of religious iconography. Anyway, I do hope that they collaborate on something. It just has to happen.

Simian superiority

A gripping and solid prequel to the science fiction classic “Planet of the Apes,” “Rise of the Planet of the Apes” imaginatively reveals the secrets behind the primates’ unprecedented dominance.

Cleverly connecting the eventual uprising of the simians to an experimental medical breakthrough, “Rise” is parts monster and disaster flicks, with some pet-family drama thrown in for good measure: Pioneering scientist Will Rodman (James Franco) tests a possible cure for Alzheimer’s disease on monkeys, which results in an intellectually evolved ape, Caesar (Andy Serkis), whom he secretly raises like an offspring.

The transformation of Caesar is carefully documented; eventual interactions with other apes and their abusive human captor (Tom Felton) become pivotal learning experiences that inspire the intelligent monkey to hatch a daring plot. No surprises there, of course, the monkey rebellion is a given, but momentous details leading to it are sensibly divulged.

Immensely affecting are the parent-child dynamic between Will and his ailing father (John Lithgow), and the similar bond between Will and Caesar. Caesar’s dramatic evolution and his instigation of an unthinkable revolt are emotionally engaging, expressively aided by seamless special effects. A dark fable that frightens as much as it enlightens, “Rise of the Planet of the Apes” makes sense of what has gone before, but also gives us reason to care for its mythology.

Alive and Kissing

Getting smoochy and slashy.

Cat, Bat, Snake

Selina and Talia somehow manage to capture Bruce, but maybe that’s just what he wants them to think.

Hornhead Loving

A temporary, three-way truce between Elektra, Matt, and Mary.

Wonder Heartbreak

Wonder Girl says she’s happy for Superboy and Red Robin, but being around her ex and her almost-boyfriend is killing her.

Espionage, ‘Nikita’-style

(Published July 31, PDI-Entertainment)

By Oliver M. Pulumbarit

Contributor

Thrilling and tautly reinvented, the spy action-drama series “Nikita” borrows concepts from its similarly titled 1990 film predecessor, expanding on the suspenseful conflict between a rogue female agent and the sinister organization that created her.

The spy-assassin Nikita, portrayed by nimble Maggie Q (“Live Free or Die Hard”), now sabotages the operations of the covert mercenary agency Division, which previously trained and unleashed her on unsuspecting targets. But Division also killed the innocent civilian that Nikita fell in love with while she was undercover, which led to her escape and revenge mission.

As part of her plot, Nikita plants a mole, Alex (Lyndsy Fonseca), a young woman falsely accused of murder. Also victimized by Division, the formerly drug-addled Alex was secretly rehabilitated and trained by Nikita to resist the conditioning of the group, which plans to turn her into another assassin.

From within the Division facility, Alex is able to relay information to her “sensei” Nikita, who manages to whip up all sorts of trouble for her former masters.

“Nikita,” developed by executive producer Craig Silverstein, focuses on two strong female characters, giving the show unique and broad perspectives. The war is being waged on two separate fronts that routinely converge through specific encounters and even integral flashbacks.

The complex back story unfolds weekly, significantly enhancing the characters, including Nikita’s reluctant friend and Division agent Michael (Shane West).

The show’s more suspenseful sequences are consistently paced and often complemented by tightly choreographed stunts.

Story-wise, the mole angle is reminiscent of the double-agent situation in the early seasons of JJ Abram’s spy show “Alias,” but “Nikita” has an intriguing take on the infiltration. Also noticeable are the similarities to Joss Whedon’s “Dollhouse”—the hidden Division headquarters also has clean but claustrophobic interiors, where young and attractive recruits are often assessed and “programmed” by shady overseers.

Comparisons aside, the reimagined “Nikita’s” espionage conflicts are inveigling, and it’s quite easy to sympathize with and cheer on this new breed of action heroines.

“Nikita” airs Tuesdays, 8 p.m. on ETC.

Super Men

Characters inspired by the Superman archetype: Omni-Man, Sentry, Superior, Samaritan, Majestic, Supreme, Icon, Captain Marvel, Hyperion, Gladiator, and Apollo.

Red, white, new

The barrage of superhero flicks continues with the summer actioner “Captain America: The First Avenger,” about Marvel Comics’ iconic, flag-draped World War II patriot. Chris Evans’ second Marvel superhero role, his umpteenth genre character portrayal, is a snug fit, impressively resembling the indomitable Steve Rogers from the source material.

Captain America’s origin is generally faithful to the lore, enough to make the fanboys happy, but accessibly told for the non-comic readers: Steve was a lanky weakling, patriotic but severely limited by his own body. Strengthened by the experimental serum developed by a genius German scientist (Stanley Tucci), Steve is given the Captain America identity, and eventually proves himself a formidable fighter and strategist. He later comes face to face with the Nazi madman Red Skull (Hugo Weaving), wielder of arcane weaponry.

Joe Johnston’s “Captain America” has heart and focus, both absent in the recent “Green Lantern,” but like “Thor,” the action sequences could’ve gone longer and better. The Red Skull’s Hydra henchmen, with their generic stormtrooper look and scifi technology, seem plucked from the “G.I. Joe” movie, and don’t exactly make for great action adversaries. The hero’s fight with the Skull lacks complex choreography and impact, as well.

Cast-wise, it’s competent: Tommy Lee Jones as the scene-stealing Col. Phillips and Hayley Atwell as feisty Peggy Carter both have complementary rapports with Evans. Sebastian Stan is also capable as Cap’s sidekick Bucky; the character isn’t the costumed “mascot” here, but is also a fine fighter. Tucci is sublime as always, and Dominic Cooper’s brief but memorable appearance as Howard Stark (Iron Man’s future daddy) charms.

“X-Men: First Class” is still the best comic book movie of the year, unquestionably. “Captain America” is much less dramatic and involving, but it’s mostly a decent and fun flick. And yes, stay and check out the “Avengers” teaser trailer after the credits.

Martian Manhunting

Saw the John Carter trailer. Costumes too conservative. Was hoping for a sexier, Frazetta’d-up look. Taylor Kitsch, a.k.a. Gambit from the 2009 Wolverine flick, is playing the titular hero created by Edgar Rice Burroughs. The Disney film’s trailer sort of reminds me of last year’s Prince of Persia. The movie will be out next year.

‘Merlin’ reimagines major characters

(Published July 24, PDI-Entertainment)

By Oliver M. Pulumbarit

Contributor

Characters from the Arthurian legends get the “prequel” treatment in the British fantasy series “Merlin,” centering on the famous sorcerer several years before he became Camelot’s sagacious mage. It’s not exactly “Smallville” meets “Harry Potter,” but the show depicts the heroic feats of a young wizard and a young knight destined for greatness.

Merlin (Colin Morgan) hides his innate mystical abilities when he moves to Camelot, where magic is strictly prohibited by the reigning King Uther Pendragon (Anthony Head). Sorcerers, regardless of age or allegiance, are arrested and publicly executed. Merlin becomes the assistant to the trustworthy court physician Gaius (Richard Wilson), and is immediately hired as Prince Arthur’s (Bradley James) servant after saving him from a vengeful assassin.

Unlike in old myths and other interpretations where Merlin was much older than Arthur and somewhat manipulative of the future king, the show’s versions of the characters are nearly the same age who initially disliked each other. Refreshingly, this iteration of Prince Arthur is already a skilled warrior and sometimes an infuriating jerk. But Merlin discovers their shared destiny and covertly uses his abilities to protect him.

The love angle between Arthur and the servant girl Guinevere (Angel Coulby), known simply as Gwen, is developed during the second season. The future royal spouses, interestingly, befriend and fight alongside the recurring character Lancelot (Santiago Cabrera). The future knight is instrumental in ruining their marriage and the prophesied fall of Camelot.

But the most engaging among the reimagined characters is Morgana (Katie McGrath), portrayed in most legends as a powerful villainess. Formerly the kind-hearted ward of King Uther, Morgana secretly discovers and accepts her magical nature, gradually transforming into a sorceress who plots the king’s defeat in the show’s darker episodes.

It has its silly comedy episodes – like when an ensorcelled Uther marries a troll-woman - but most stories are serious adventures, made lively by dramatic conflicts, competent action sequences and flashy special effects (there’s a dragon character voiced by John Hurt). Merlin and Arthur’s early heroism and exploits, together with Morgana’s metamorphosis, amusingly expound on their connected and inescapable destinies.

“Merlin” Season 3 airs Fridays, 9 p.m. on Diva Universal.

Too darn tame

Disney’s “Prom” is an oddity. On the one hand, its super-safe, ultra-clean story is a break from the racy teen comedy-dramas; on the other hand, it’s so normal that you’re reminded of your own very tame and uneventful prom. So while it’s quite relatable, it’s not terribly exciting and the teen characters’ eye-rolling predicaments barely make us feel genuine concern for them.

Understandably, the upcoming prom is a pretty big deal for them; they’re high schoolers, after all. The overachiever Nova (Aimee Teegarden) finds herself smitten with bad boy Richter (Thomas McDonell), who dislikes the fuss surrounding the event. The other characters are couples and couples-to-be, all racing against the clock to either prepare or look for dates for prom night. A sizeable part of the movie is about their puppy love dramas and going to the party with the “right” person.

It lacks any real escapist element, and it’s devoid of some real-life high school situations—there are no clichéd bullies or mean girls, thankfully, but there’s no mention whatsoever of sex or other “rebellious” behavior. “Prom” is strangely familiar, but it also feels like an overly sanitized alternate reality with no real pressing conflicts.

Bugle Boy

Cool-looking “The Amazing Spider-Man” pics from Entertainment Weekly. Emma Stone does look like Gwen Stacy, and Andrew Garfield looks kinda puny but adorkable enough a la Peter Parker. As for the new suit, those changes aren’t too much of a departure; it’ll probably look better in the movie (I’m reminded of the not-so-photogenic yellow and blue jumpsuits from “X-Men: First Class,” which actually looked good, especially when the heroes were in motion). More than that, though, I hope that it’s a good reboot, and that a perfect Mary Jane (and Felicia Hardy!) will be cast eventually. It’ll be out in July, 2012.

Crystal Reed, horror fan turned ‘Wolf’ lover

(Published July 17, PDI-Entertainment)

By Oliver M. Pulumbarit

Contributor

“I feel that art is gray – there is no black and white or right and wrong,” said American actress Crystal Reed, who stars as Allison Argent in MTV’s new supernatural drama “Teen Wolf.”

In a recent phone interview, Reed expounded on pursuing an artistic path after quitting her studies at Detroit’s Wayne State University. “I auditioned for the prestigious BFA conservatory program,” she said. “They were very strict about the methods of acting, very particular about how we do things and I started questioning whether or not it was the right place for me, and whether or not [one] truly needed a degree to be an artist.”

Reed moved to Chicago, where she pursued theater and improv opportunities, and eventually landed roles in “CSI” and “The Hard Times of RJ Berger.” She appeared last year in the sci-fi flick, “Skyline,” and will be seen in the coming comedy, “Crazy, Stupid Love.”

She describes the re-imagined “Teen Wolf,” loosely based on the 1985 film that starred Michael J. Fox, as “a thrill ride.”

How is the new “Teen Wolf” different from the original film?

I did watch the original before I knew I was even part of the new show. I love it! I think it’s great. But I think the major difference is that our show is really scary, and the original was quite funny. In the original, when Scott turns into a werewolf, everybody claps for him on the basketball court. But in our show, Scott (Tyler Posey) is hiding the fact that he’s a werewolf. Also, the center of our show is Allison and Scott’s relationship, and everything really revolves around that.

Were you a monster/horror genre fan before this?

I’m a huge fan! My favorite scary movie is “Rosemary’s Baby.” I think Mia Farrow is incredible. I watch it over and over. But growing up, I would always watch “Tales From the Crypt.” I was never allowed to, but I would watch that, and “Child’s Play.”

How is “Teen Wolf” different from shows with werewolves like “True Blood” and “Vampire Diaries”?

I think “Teen Wolf” is in a category of its own. I’m a huge “True Blood” fan and I think it’s incredible. Alan Ball is a genius, the acting is phenomenal and the show has nudity. If we were to compare, I think the biggest difference is that “Teen Wolf” is funny and it still feels like it’s original. Jeff Davis, the creator, really wrote the characters in a way that they seem authentic, especially the relationships, the friendships. You just believe them. It feels like these kids are really going through these things. It’s funny, scary and sexy, and those things set it apart from those shows.

Why do you think werewolves are popular nowadays?

I think it’s popular because the idea that something so bad could possibly have a good side to it – you don’t really know what you’re getting yourself into. People want to explore stuff like that!

“Teen Wolf” premieres July 17, 9:00 on AXN Beyond.

2 Cool 4 Super-School

Super kids today...

Avengers Academy and Initiative

Academy recruits and Initiative graduates, current and erstwhile trainees of the Avengers: Finesse, Reptil, Cloud 9, Komodo, Veil, Mettle, Striker, Hardball, Trauma, Butterball, Hazmat.

Teen Titans

Teen Titans, the post-One Year Later and Final Crisis rosters combined: Bombshell, Superboy, Wonder Girl, Static, Ravager, Miss Martian, Blue Beetle, Kid Eternity, Kid Flash, Red Robin, Aquagirl.

Young Avengers

The Young Avengers roster, plus young Avengers from the team’s different incarnations: Stature, Wiccan, Iron Lad, Vision, Rage, Hulkling, Scarlet Spider, Speed, Hawkeye, Patriot, Mastermind Excello.

Born Free to Follow Your Heart

My thanks to the original posters and owners; I found these posted on Tumblr blogs:

Yeah, why are the homophobes ignoring Leviticus 19:27?

Sir Ian the conqueror!

Never change for the unthinking idiots.

Hogwarts, war zone

Iconic fantasy hero Harry Potter’s big screen adventures end with the bittersweet second installment to “The Deathly Hallows,” showcasing the final climactic battle between the magic-wielding forces of good and evil. It’s been an eventful journey for Harry and his friends; their shared missions, growth and adeptness in the mystic arts have been vividly chronicled across the span of eight films.

And it’s an epic showdown at Hogwarts, as Voldemort’s forces finally attack the school harboring the young fugitive mage, who’s been busy looking for items essential to his arch-enemy’s ultimate destruction. While the earlier films focused on the students’ magical education, they are now tested in an actual battleground, fighting for their very lives during the daring school siege!

The spellbinding saga’s beloved and reviled characters are characteristically portrayed memorably by their respective actors, and it’s especially elating to see previously unseen confrontations and interactions. Most of the supporting cast get their shining moments, either in fight scenes, flashbacks, or even the “afterlife” sequences. “Deathy Hallows Part 2” certainly will keep fans of the films charmed by appearances of some deceased characters.

Heavy in action and effects wizardry, this last film has a few quiet scenes revealing important truths behind some of the puzzles in the preceding parts. While it gets jarring to suddenly be thrust into some lengthy and relatively calm scenes when the film is mostly dominated by depictions of tumult and destruction, there’s clarity in storytelling and it’s better-paced than the first “Deathly Hallows.” The conclusion to the spectacular mystic war satisfies, and the brief but enchanting epilogue will leave fans of the franchise wanting more.

Gay Families are REAL

If you do a Google Images search of “gay family” (with quotation marks), most pictures that appear depict exactly that. Then there’s that weird “Family Gay” image of Stewie and Brian Griffin. But the most out-of-place photo of all is the one in the upper right corner, showing a group of kids wearing shirts promoting a homophobic site. The bigotry of the adults in their lives being imprinted on such innocent children is just horrid.

Still, there’s hope for them yet. Perhaps in the future, some of those children will realize that homophobia, not gayness, is wrong. Perhaps by that time, other kids being warned by their “holy” religious leaders against homosexuality and gay relationships will realize that condemning others based on their gender identity is immoral. Maybe future generations will be more accepting of gay unions, and will automatically recognize the bonds between gay people and their families.

To those who say that gay people, gay families, and gay relationships are “disgusting,” “masagwa,” “kadiri,” or evil, shame on you. Shame on you, you self-righteous guardians of “morality” and promoters of destructive hive mentality. You encourage self-hate when you spew your insecurities. Read your “holy” books well. You say that it’s written there that you can condemn gay people, and it is, but you ignore other similarly dubious and utterly idiotic passages altogether. Gayness isn’t a sickness or a disorder. Just because a family has a less-active father doesn’t mean that a child will end up gay. And please, telling gay people that it’s “okay to be gay” while telling them not to “practice homosexuality” because you label it “sinful” basically means that you don’t accept them at all. What idiocy!

Times have changed; the pink triangle is now a symbol of gay empowerment, reversing its original meaning and purpose (it was a badge used for identifying gay people in concentration camps back in World War II). The recent New York gay marriage legalization and the Baguio gay weddings are moving victories. But it’s disappointing that homophobia in the country immediately reared its ugly head, accompanied by similarly ugly anti-gay union signature campaigns and shameless meddling by avowed celibates. Many committed gay couples want to get married to avail of the rights and benefits that straight couples get, but more importantly, to express their love for, and devotion to each other. But the bigots keep repeating the same old verses.

I’m reposting part of what Republican (yes, Republican!) and anti-Prop. 8 lawyer Theodore Olson said early last year:

“The fact that individuals who happen to be gay want to share in this vital social institution is evidence that conservative ideals enjoy widespread acceptance. Conservatives should celebrate this, rather than lament it… When we refuse to accord this status to gays and lesbians, we discourage them from forming the same relationships we encourage for others. And we are also telling them, those who love them, and society as a whole that their relationships are less worthy, less legitimate, less permanent, and less valued. We demean their relationships and we demean them as individuals. I cannot imagine how we benefit as a society by doing so.”

What They Said

Self-explanatory stuff, images from Invincible # 80 and Spider-Girl # 5. Funny because they’re true.

X-Men # 1, 20 Years Later

Oh, X-Men # 1. It’s been two decades! I remember getting my copy of the issue from a comic shop in Makati and bringing them and Uncanny X-Men # 281 to school for my friends to read. I was so excited; my favorite artists back then were Jim Lee and Whilce Portacio, who were the regular pencilers for Uncanny X-Men and X-Factor, respectively. I liked the revamped look of the characters and the fact that they were split into two X-teams, gold and blue.

Jim Lee is now Geoff John’s artist on the new, rebooted JLA title, which will be out in print and digital formats by August 31. The DC Universe is being relaunched, changing the existing continuity, according to the recent FAQ release. 52 titles will be released, all first issues. DC doesn’t want to call it a reboot, because it’s “a launch.” If costumes, concepts and histories are changed at the same time, then it’s a reboot. Sheesh.

Anyway, the first time I read news about it, I initially thought, “oh, another Heroes Reborn.” Jim was involved in that too, when Marvel updated the Fantastic Four and the Avengers for a year before reverting them back to “normal,” back in the late ‘90s. I felt that it was another stunt, but the FAQ states that these upcoming changes will stick and be around for “years” to come. The revamped JLA, I’m not excited; Jim’s style looks ordinary now and the designs don’t really stand out anymore. I hope he still improves, though, storytelling-wise and design-wise.

Of all the titles being rebooted, I’m most interested in the two Legion titles. I’ve gotten used to the team being retooled and reimagined, and each incarnation “counts,” as seen in the Legion of 3 Worlds mini, so I’m looking forward to that.

Back to the X-Men. I still read the various X-titles. I still like the characters and mythology, and appreciate how they’ve evolved all these years, thanks to various talented creative teams. The succeeding eras that rekindle childlike enthusiasm include the Grant Morrison and Joss Whedon runs. I respect Mike Carey too; he’s currently writing X-Men: Legacy, which started out as the aforementioned adjectiveless X-Men. It’s now 250 issues old.

Shatner as cranky but redeemable ‘Dad’

(Published July 3, PDI-Entertainment)

By Oliver M. Pulumbarit

Contributor

Family ties are renewed every week in the sitcom “S#*! My Dad Says” (or “Bleep My Dad Says”), starring William Shatner as the grumpy, divorced and gun-toting Ed Goodson, whose recently unemployed writer son starts living with him after running out of options.

Ed and Henry (Jonathan Sadowski) barely communicated in the years prior to the new arrangement, so each has to get used to the new housemate’s quirks. Because of Ed’s perpetually cranky disposition, Henry initially hesitated asking to stay temporarily at his dad’s place.

And while Ed’s not one to mince words, he finds it hard to express his own feelings, and be more openly welcoming of Henry. The former military doctor, however, recognizes the opportunity to be a better father to his more communicative child, a former magazine writer. Henry is given a new mattress and moves in, finally forming a closer bond with his deliberately incommunicado parent, as well as with his half-brother and neighbor Vince (Will Sasso).

Shatner’s mostly deadpan delivery of biting one-liners almost consistently charms, even when the routinely situated punch lines don’t always work. It’s not Shatner’s first time in a comedic setting; the veteran actor appeared memorably in the sci-fi sitcom “3rd Rock From the Sun” and in a number of riotous “Late Night With Conan O’Brien” sketches. But the show is something else entirely. It grows on the viewer, especially since the family-centric situations are easily relatable and the dad’s ongoing mission of “redemption” offers insights into generational differences.

Sadowski is competent and comfortable as the twenty-something son getting introduced to his doctor-gardener father’s seemingly odd customs and routines. “MADtv” alumni Sasso and Nicole Sullivan (as Henry’s sister-in-law Bonnie) are essential components to the comic equation, providing the foil to the oft-awkward father-son tandem.

Co-created by “Will and Grace” progenitors David Kohan and Max Mutchnick, among others, the show sometimes tackles gay issues. Ed becomes more sensitive to a gay waiter, Tim (Tim Bagley), whom he befriends, hires as a maid, and also treats like a son. Ed’s petulant but straightforward behavior (plus his tendency to make a fool of himself) surprisingly attracts confident women, including a popular self-help guru played by Cybill Shepherd.

It’s not always laugh-out-loud funny, but the show usually succeeds in evoking hearty smiles, and even tugs at the heartstrings from time to time.

The show airs Tuesdays, 7:30 p.m. on Jack TV.

Sandbox Showdown

X-Babies Vs. Tiny Titans! Beware Speedy’s cupcake arrow!

Less than meets the eye

(Dear SM MoA Imax, no one was handing out 3D glasses when my companion and I entered the cinema; I had to rush out to get them shortly before the movie started. I noticed that some people didn’t get theirs, either.)

Some spoilers ahead.

“Transformers: Dark of the Moon,” thankfully, isn’t the travesty that was “Transformers: Revenge of the Fallen.” That doesn’t mean it’s fully recovered from its problematic aspects; if anything, this third movie doesn’t veer too far away from the established Bay-flick trappings.

“Dark of the Moon” rehashes familiar story elements, and sticks with the confusing, overly ornate designs--Prime still looks like there’s trash clumped all over him, even when he’s not sporting his scrap-looking flight gear--making it hard to really appreciate this live-action version’s overall look. It’s often a challenge to immediately figure out action scenes, and the brief slow-mo sequences don’t really give clarity to the slugfests.

Megan Fox and her character are out and Rosie Huntington-Whiteley plays Sam’s (Shia LaBeouf ) new girlfriend Carly, introduced as someone with ties to the British embassy and the military. Like the previous movies’ attention to the romance angle, Sam and Carly’s cutesy relationship is defined amid thunderous conflicts and much running, the actors adequately sharing some onscreen chemistry. They’re a pretty normal, feelgood summer movie couple, threatened by a conspiracy dating back to the Space Race. This is the second time in mere weeks that the Kennedy administration’s been connected to fantastical epics, but we don’t care about this secret history tidbit as much as the one in “X-Men: First Class.”

John Malkovich and Frances McDormand appear as new characters; the former is wasted while the latter charms but is pretty forgettable. John Turturro is less annoying than in the previous parts. The human-Autobot interactions don’t really make us care for their bond but the Bumblebee-Sam friendship still moves, however fleetingly. And Chicago is invaded and conquered by Decepticons, which looked cool for about a few minutes, but the subsequent liberation process got quite tedious.

Again, this is pretty bearable compared to the second film, but it has its laughable moments. One of them was Carly taunting Megatron into betraying a new ally, because she witnessed the Decepticon leader getting bitch-slapped by that newer character earlier. Megatron’s such a softie; he didn’t do or say anything to the girl, he just attacks the other robot. It would’ve been impressive had Megatron undermined her verbally, “lower” life form that she is, then scared her off with a warning shot, mockingly said “thank you,” and attacked the new robot anyway. But no, that didn’t happen.

And Optimus Prime can get really corny, as exemplified by his declaration to an enemy: “You didn’t betray me. You betrayed yourself.”

Ugh.

‘Outsourced’: Universal hotline

(Published June 22, PDI-Entertainment)

By Oliver M. Pulumbarit

Contributor

The weekly sitcom “Outsourced,” about an American heading a call center in India, regularly pokes fun at aspects of both countries’ cultures. But while the situations may inspire discussions on differences, the show also depicts universal similarities between people, their location and traditions notwithstanding.

The proverbial fish out of water, Todd Dempsy (Ben Rappaport) must adapt to the changes that come with being transplanted to Mumbai. But the transition isn’t smooth, even when he thinks that he’s assimilated quite nicely.

Todd often has to explain to his employees the idea behind the gag and novelty items that they’re selling. He also had to contend with harassment complaints filed by his agents at one point, totally oblivious of his mistakes. The young boss and his mostly enthusiastic set of employees routinely question each other’s customs, but issues are often resolved by the end of the episode.

A few distinct agents are focused on: Manmeet (Sacha Dahwan), confident and overly friendly to female clients; Madhuri (Anisha Nagarajan), timid but talented breadwinner of her family; Gupta (Parvesh Cheena), the outcast dreaming of Bollywood stardom; Asha (Rebecca Hazlewood), who has a crush on Todd but is focused on picking the proper suitor for her arranged marriage; and Rajiv (Rizwan Manji), the annoying assistant manager openly coveting Todd’s job.

“Outsourced” further illustrates the appeal of the underdog: Despite Todd’s success, he’s considered a failure by his dismissive father. Todd’s employees are sometimes picked on by elitist call center agents of another company in the same building. In the standout episode “Todd’s Holi War,” he leads his bullied team in outwitting and “outmuscling” their well-dressed tormentors during the “Holi” festival.

Newcomer Rappaport and the cast members form a tight ensemble, adding charm and freshness to the periodically campy but celebratory series.

“Outsourced” airs on Wednesdays, 8:30 p.m. on 2nd Avenue, and on Saturdays, 7:30 p.m. on Universal.

Blinking light

Effects-heavy but a popcorn flick devoid of fun moments, “Green Lantern” is based on the long-running DC comic book of the same name. Bequeathed a will-powered ring by a dying alien, cocky and misunderstood pilot Hal Jordan becomes part of an intergalactic police force, creating light constructs and fighting space-spawned menaces connected to his predecessor.

Understandably, the film is its own entity, as it compresses and revamps details from the source comic book. That may initially impress the loyal reader, but the potential of the semi-faithfulness isn’t fully explored and the movie focuses instead on a very typical, surprise-free hero’s journey. Hal Jordan is played by Ryan Reynolds, who spices up the role a bit despite his sometimes-annoying jokey demeanor. Reynolds gives Hal some recognizable personality, at least, because Hal’s pretty dull in the comics.

Blake Lively makes a decent Carol Ferris, also a strong-willed pilot and Hal’s longtime friend and occasional lover. Unfortunately, their pairing has no sparks; their scenes together are unexciting, and the movie slows down considerably whenever they’re focused on.

As for the villains, the disfigured psychic Hector Hammond (Peter Sarsgaard) and the cosmic creature Parallax aren’t at all distressing antagonists; one’s typically the vengeful nerd conveniently pining for Carol, while the other’s a cloudy mass reminiscent of the film version of Galactus. A respected Green Lantern, Sinestro (Mark Strong), isn’t a villain yet, but older fans might wish that his fascistic tendencies were more concretely hinted at. Still, he’s shown as someone likely to pursue his own agenda.

The super-brawls proceed mechanically, sadly, disappointing with less-than-imaginative fight tactics and emotionally disconnecting confrontations. “Green Lantern” ultimately does little to make the main character a sympathetic and awe-inspiring figure, and his cosmic feats lack grandeur and lasting impact.

Cold comfort

It’s easy to dismiss “Mr. Popper’s Penguins” as a cheesy family flick, as the trailer rather painfully shows Jim Carrey teaching a group of penguins some dance steps. Carrey’s practically done everything, but it still strikes you as odd that he’d be involved in something so… strange.

But it’s surprising that it’s not at all a horrifically done or treacly pet movie; “Mr. Popper’s Penguins” actually pleasantly diverts with its yarn about fathers and children, unresolved issues and recovering relationships. The family comedy-drama’s titular character Tom Popper (Carrey) is a divorced real estate developer who inherits a couple of penguins. He transforms his posh apartment into their cold but comfy habitat, his ex-wife (Carla Gugino) and their kids becoming closer to him again because of the adorable new pets.

There aren’t new stuff or surprises happening here; the movie is pretty formulaic with its family-oriented themes and stages of epiphany, but it’s still quite heartwarming and cute. A toned-down Carrey sufficiently provides humanity to a partly-fantastical setting. Also, Tom’s assistant Pippi (Ophelia Lovibond) amuses consistently with her quirky obsession with words starting with the letter “p.”

Stars and Lightning

Just random Marvel characters, so no real theme here. Hmm, let’s connect them anyway: Thor’s dad Odin declared Dazzler the winner of a singing contest. Dazzler is rumored to be Shatterstar’s mother. Shatterstar almost hit on Thor.

Classic Thor

Thor, son of Odin and Gaea, Avenger and former All-Father.

Disco Dazzler

Dazzler: Retrospective collects disco diva Alison Blaire’s greatest hits and previously unreleased studio tracks, remastered for this special release. The artist, praised by All-Father Odin himself for her “voice so sublime,” was declared “the fairest songstress of Asgard and Midgard” early in her career.*

Track List:

(1) Love From Beyond (2) The Shattered Star (3) A Little Girl’s Dream (4) The Power Cosmic (5) Asgardian Idol (6) You Only Live Twice (Feat. Lila Cheney) (7) Siege Perilous, Siege Fabulous (8) Go For It! (Feat. Johnny Storm) (9) Hammer Bay Heartbreak (10) X-Lovers (11) Black Bolt Screaming (12) Mutant And Proud (2011 Utopia Remix)

*Dazzler # 16

Shatterstar + Rictor

Bodacious bisexuals Ric and ‘Star sometimes smooch in the GLAAD award-winning X-Factor book by Peter David.

Music in their heads: “The Ballad of You and I” by Melee and “I Will Remember” by Hard Rain.

They Got the Beat

Go-Go’s vocalist Belinda Carlisle and her 19-year-old son, actor-activist James Duke Mason, discuss his homosexuality in a recent Advocate video (scroll down that page, it’s below the article). Belinda mentions seeing hints--Duke was furious when she postponed their scheduled “Brokeback Mountain” movie outing, for example--but still admits to feeling shocked and worried when he came out a few years ago. She accepted it, eventually: “Of course I’m gonna have a gay son.”

Aww. They really are making heaven a place on earth. Okay, only older, ‘80s pop music-loving people will get that reference.

New ‘Skins’ less edgy but still racy

(Published June 13, PDI-Entertainment)

By Oliver M. Pulumbarit

Contributor

The new American remake of the acclaimed British teen drama “Skins” duplicates its themes and controversial content—about a group of sexually active and weed-smoking teens. But this new MTV series is less edgy, although its depictions of sex, drug use and bad behavior are still racy, and it tackles subjects too touchy for regular US network shows.

Those already familiar with the original series may find the re-imagined version a toned-down déjà vu, as it has virtually the same characters and storylines but sans the excessive use of expletives and with less nudity. MTV Asia blurs out certain intimate scenes as well.

The Americanized characters are still believable, thanks to their core traits. Tony (James Newman) is the manipulative alpha male; Michelle (Rachel Thevenard) is the hot but insecure girl; Stanley (Daniel Flaherty) is the awkward virgin smitten with Michelle.

There are major changes: The pill-popping and depressed Cadie (Britne Oldford) doesn’t have an eating disorder, which was exceptionally portrayed in the original show. And instead of a gay guy, this version has a lesbian, Tea (Sofia Black-D’Elia), a cheerleader easily bored by overly dramatic and confused partners.

The Tea-centric episode exemplifies the potential of the show, creatively utilizing elements exclusive to the American setting. She discovers her senile grandmother’s sexual identity during the latter’s sad recollection of the homophobic “Lavender Scare” in the 1950s.

Tea also has a one-time tryst with Tony, but it makes sense because she likes challenges and considers him an equal. Interestingly, British Tony had a brief affair with the gay guy, so this is a different rapport altogether.

Its more insightful changes make “Skins” interesting and may still impress diehard fans of the predecessor, even if they find the interpretation uneven. But the uninitiated viewer will nonetheless be stunned by the interwoven tales of teen pain, over-indulgence and rebellion.

“Skins” airs Sundays, 11 p.m. on MTV Asia.

Lively and Lustrous

Lookit Finn’s hair! This was the big reveal in the “To Cut a Woman’s Hair” episode of “Adventure Time.” Jake is super-stunned.

Sentimental summer

J.J. Abrams’ “Super 8” isn’t quite “E.T.,” but it’s reminiscent of kid-friendly summer popcorn flicks of yesteryear that seem to have been replaced mostly by flashier, inflated, and more bombastic fare. It’s not exactly mind-blowing, and it has more than its share of cloying characters and situations, but the science fiction-adventure flick is solidly told.

Set in 1979, “Super 8” focuses on a bunch of kids making a super 8 movie during their summer vacation, but their filmmaking takes a turn for the bizarre when they witness a train crash and a succeeding military cover-up. They piece together clues to a well-hidden puzzle, which just might be an enigmatic creature stalking their small town.

Two talented young actors, Joel Courtney and Elle Fanning, stand out as schoolmates surviving their respective traumas, aspects to their personas and blossoming friendship believably substantiating their shared adventure. Their well-meaning but flawed fathers, the generic lawman and generic outcast, are nonetheless competently played by Kyle Chandler and Ron Eldard, respectively.

Again, the film doesn’t have labyrinthine twists, nor does it break new cinematic ground. The predictability might actually annoy the more impatient or more jaded viewer; nonetheless, the sentimental “Super 8” is properly paced and it evokes nostalgia adequately.

(My thanks to Mae and Ayala Cinemas for the invite. “Super 8” is now showing at all Ayala Cinemas. Log on to www.sureseats.com for reservations and movie info.)

Genuine ‘Class’

A prequel that also partly reboots the continuity of the established Marvel franchise, “X-Men: First Class” impressively reintroduces the team of mutant adventurers, linking them this time to a tumultuous period in history. The latest reinterpretation quite stunningly examines the long-mentioned friendship between opposing mutant leaders Professor X and Magneto, both integral to the formation of the team in this iteration.

Directed by Matthew Vaughn, who’s already successfully retooled and translated popular comic books “Kick-Ass” and “Stardust” into movies, “First Class” gives a much clearer picture of the challenges facing mutantkind, as well as the strife facing its future shepherds. The young Charles Xavier (James McAvoy) is a telepathic genetics expert who eventually befriends the revenge-driven Erik Lensherr (Michael Fassbender), a Holocaust survivor with mastery over magnetism.

The film pleasantly surprises with its handling of that precious bond, which was talked about repeatedly in the previous film trilogy but bandied about with little emotional resonance. “First Class” rectifies that, finally, giving substance to both characters and their intimate enmity. But giving Erik Lensherr a.k.a. Magneto depth is Fassbender, who portrays the future villain with uncommon intensity. Magneto’s thirst for vengeance and steely determination are further solidified, while Charles Xavier is expounded on delightfully. McAvoy’s suave and animated Xavier charms and surprises, still exhibiting familiar qualities of the future mutant messiah between his more human moments.

And the film has its share of human drama, made extra-palpable by fine actors. Nicholas Hoult, formerly known for his bisexual alpha male role in the original “Skins,” plays super-genius Hank McCoy/the Beast, who sees himself as disfigured. Jennifer Lawrence (“Winter’s Bone”) portrays Raven/Mystique, Charles’ dear friend who believes in his cause initially, but is unable to fully accept her own visible mutation.

Kevin Bacon plays Sebastian Shaw, an unrepentant mutant madman that’s pretty run of the mill but nonetheless a threatening and inescapable presence thanks to the actor. Readers of the comic books may see some resemblance to the Mister Sinister character because of his first/flashback scene. Not all cast members leave a good impression, however. January Jones plays Shaw’s telepathic lackey Emma Frost, sadly an emotion-devoid mannequin.

“X-Men: First Class” has a number of finely shot action sequences, but it’s still very much in touch with its emotions. The persecution drama, the impending ruin of a brotherly rapport, and the mutant-gay/outcast metaphor keep this excellent film layered and extraordinarily moving.

Collective amnesia still funny

Duplicating the structure and the irreverent, lowbrow humor of the first “Hangover,” this sequel inspires gasps and guffaws despite having lost its element of surprise. Alan (Zack Galifianakis), Stu (Ed Helms) and Phil (Bradley Cooper) reunite for another wedding in “The Hangover Part II.” Of course, they end up forgetting crucial events prior to the occasion again, and must retrace their steps to figure out what went wrong during that one night in Bangkok.

Still a strange but synergistic grouping, the trio of Galifianakis, Helms, and Cooper manages to keep the silliness fresh. Like in the first film, however, the laughs are largely split between Galifianakis and Helms, with Cooper’s more “normal” character ending up as uninteresting and forgettable (again). Justin Bartha, like last time, is barely seen, but he’s not the missing person here and he doesn’t participate in the search.

Again, familiarity with the first film makes “The Hangover Part II” considerably less intriguing and charming, but its typically icky and lewd humor still tickles.

“The Hangover Part II” opens June 8 in Metro Manila.

Beaver Fever

Yes, modern Archie is with-it and pop culturally aware. Justin Beaver debuts in an issue of Little Archie and Friends. And also appearing, according to the text at the lower right corner of the cover: Meowly Cyrus, the Jonas Barkers, and Lady Arf Arf.

Lady Arf Arf. Interesting.

X-cited

Posted this on Facebook last Thursday:

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Saw X-Men: First Class… Fan-f*cking-tastic! Excellent storytelling, excellent actors. Fassbender! MacAvoy! Bacon! Hoult! Ahhhh!!! And no distracting Stan Lee cameo. Hope Joss Whedon’s Avengers has similar pathos. X-Men: First Class! Watch it. Watch it thrice!!!

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I’ll be posting a proper review later.