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.

Rock Hard Women

(Published yesterday, April 26, Phil. Daily Inquirer-Super)

Some must-hear music by some illuminating ladies
By Oliver M. Pulumbarit

The better female singer-songwriters have been around for years, their compositions possessing that very specific and distinct perspective that continue to give voices to many fellow women--and even men--everywhere. Sensitive lyrics, made tangible by a multitude of personalities, celebrate womanhood and countless other subjects. There have been, and will always be such bodies of work that will remain intrinsically feminine (and about exclusively female experiences), but the good ones will still be universally relatable.

Here are a few exceptional recordings by women artists or female-fronted bands that connect, inspire and empower, definitely worth listening to and relishing even after International Women’s Month:

Joni Mitchell, “Hits” - Any Joni Mitchell album is worth listening to repeatedly, but this essential compilation gathers 15 of her best songs. From the ‘60s to the ‘90s, the grandmomma of gifted singer-songwriters crafted pure excellence, evident in such classics as “Circle Game,” “Both Sides Now” and “River.”

Sinead O’Connor, “I Do Not Want What I Haven’t Got” - Before angry women rockers became all the rage in the late ‘90s, O’Connor made songs that were fueled by emotionally transparent lyrical content, her most prominent ones focusing on disappointment, betrayal and heartbreak.

Sarah McLachlan, “Surfacing” - This is perhaps the Lilith Fair founder’s most accessible album; you really can’t tire of her elegant, powerful voice and her songs that coruscate with attitude and grace.

Heather Nova, “Oyster” - Nova’s rock ditties have that ethereal quality to them because of her seductive, siren-like voice. She’s no slouch in the writing department, either, as this album alluringly proves.

Sheryl Crow, “Sheryl Crow” - This sophomore effort is a more cohesive, smoother collection of songs. Musically and lyrically, this set is easy to listen to, and discusses topics ranging from grown-up angst to playful optimism.

Aimee Mann, “The Forgotten Arm” - The 2005 concept album by the former ‘Til Tuesday vocalist follows chapters of a larger story, each song exposing sides to a romance tarnished by imperfections and unhealthy predilections.

Tracy Chapman, “Tracy Chapman” - She sings about unemployment, racism, domestic disputes and imprisonment. But there are uplifting songs as well in this special gem.

Color It Red, “Hand-Painted Sky” - Cooky Chua and the band’s debut album evokes a range of emotions and inspires vivid imagery. And there’s even a song sung in the perspective of a dolphin. Really.

Alanis Morissette, “Jagged Little Pill” - The hit album’s very honest confessions and personal ponderings made people listen, the Canadian artist’s success paving the way for more young scorned or hurting women with cathartic songs to sing.

Sugar Cubes, “The Great Crossover Potential” - Before Bjork simultaneously wowed and weirded out listeners and music video watchers as a solo artist, she and her band made bouncy, trippy music. Their songs “Motor Crash” and “Regina” eventually became alt-rock/new wave faves.

Dar Williams, “End Of The Summer” - Williams is a gifted folk-pop storyteller whose ruminations on teen paranoia, therapy, and other seemingly mundane things are creatively and interestingly presented.

Liz Phair, “Whitechocolatespaceegg”- The 1998 album has some disparate female perspectives, creatively flavoring such catchy and cleanly produced tracks like “Johnny Feelgood,” “What Makes You Happy” and “Polyester Bride.”

No Doubt, “Tragic Kingdom” - Gwen Stefani and the boys made really infectious ska-pop back in the day. “Just A Girl,” “Excuse Me Mister,” and “Spiderwebs” still sound cool and relevant after all these years.

Milla Jovovich, “The Divine Comedy” - Many years before Jovovich starred as beleaguered heroines in “Resident Evil” and, er, “Ultraviolet,” she released an excellent folk-pop album back in 1994. It’s a smart, audibly winning debut effort that should’ve gotten more attention.

Garbage, “Version 2.0” - It’s sexy, techno-organic and a worthwhile sonic journey every time. Shirley Manson can be feelgood and freaky, apart from being fab.

Edie Brickell, “Picture Perfect Morning” - Brickell’s sound evolved and matured, her lyrics becoming even more heartfelt viewpoints that focused on love, loss, envy and tragedy, among other things.

Indigo Girls, “Rites of Passage” - Emily Saliers and Amy Ray complement each other well in this well-received 1992 album, giving vocal texture and variety to their mostly inquisitive material.

10,000 Maniacs, “Our Time In Eden” - Among Natalie Merchant’s most memorable songs are those with her old band. Socially aware, political and cleverly written, this album showcases their signature janglepop-new wave sound, as well as ska-ish numbers.

Imago, “Probably Not, But Most Definitely” - Definitely a great CD; the strength of Aia De Leon’s voice is apparent early on. It’s easy to like the smartly worded songs with Celtic-like string arrangements, and even the funny spoken parts.

Regina Spektor, “Begin To Hope” - She plays with interesting scenarios, so you can’t help but picture her chosen images. She juxtaposes Samson with Wonderbread, for example, while mostly accompanied by dramatic piano-playing.

Suzanne Vega, “Tried and True” - Vega’s consistently lilting voice is haunting; her changing musical styles are catalogued and collected in this special compilation.

Luscious Jackson, “Electric Honey” - The all-girl trio created an album that’s unified by a focus on fun, translating superbly into pulsating and edgy cuts, atmospheric ballads, and catchy song titles such as “Alien Lover,” “Sexy Hypnotist,” “Space Diva” and more.

Melissa Etheridge, “Yes I Am” - The celebrated lesbian musician’s 10-song album showcased her powerful voice and remarkable songwriting skills. Almost every track speaks about freedom, or her declaration of individuality.

Cynthia Alexander, “Insomnia and Other Lullabyes” – Melodic ditties, introspective words and Alexander’s distinct voice make this first record an unforgettable one.

Tori Amos, “Little Earthquakes” - She’s a one-of-a-kind artist whose art rock sensibilities keep breaking down traditional perceptions of song structures and religious concepts. She sings about violation, self-inflicted suffering, and sex quite expressively.

‘Gossip Girl’ has the dirt

(Published April 24, PDI-Entertainment)

By Oliver M. Pulumbarit
Contributor

Moneyed teens figure in catfights and mini-scandals in the popular American show “Gossip Girl,” the latest series about young romance, social cliques and petty rivalries. Some gorgeous up-and-comers make up the cast, the new characters easily memorable because of the actors’ distinct good looks. But substance-wise, while the teen drama’s pretty predictable--a few shows before it have examined high school hi-jinks quite elaborately and entertainingly--it’s still quite addictive because of its hip take on superficiality, complicated friendships and sexual intimacy.

In the show, a famous website reports juicy details on the escapades of Manhattan’s young elite. The anonymous Gossip Girl is voiced by Kristen Bell (of “Veronica Mars” and “Heroes”), who impeccably narrates with just the right balance of sarcasm and curiosity. The blog-worthy subjects include the “Mean Girls”-ish rivalry between self-centered Blair Waldorf (Leighton Meester) and former wild girl Serena Van Der Woodsen (Blake Lively), and their fluctuating relationships with family and friends.

The lives of rich kid Nate Archibald (Chace Crawford) and Serena’s longtime admirer Dan Humphrey (Penn Badgley) also liven up the technology-aided rumor mill. Dan and his sister Jenny (Taylor Momsen) are the wealthy kids’ new schoolmates, good-natured souls slowly getting assimilated into a world where shallow catfights, spending sprees and duplicity seem to be commonplace.

“Gossip Girl,” inspired by a series of books, is cleverly written; its dialogue is mostly contemporary but has the potential to age well. It also utilizes classic teen show story formulas. There are defining love triangles, for instance, among them one that involves the reformed Serena, her former paramour Nate, and his girlfriend Blair. Another working formula centers on the transformation of an unrepentant bad boy, Chuck Bass (Ed Westwick), into a lovesick pup. His backfiring machinations elicit guaranteed sympathy! And problematic parents--sometimes more messed-up than the kids--are tried and tested elements that give the young characters needed definition or contrast.

The cast is an appealing ensemble with obvious, cookie-cutter roles, but the actors fit them seamlessly. However, Matthew Settle plays a dad to two teens, but he looks only a few years older than co-star Badgley! Still, the actor is competent and has a working chemistry with Kelly Rutherford (“Melrose Place,” Home Front”), who plays Serena’s single mother. Their characters figure in two love triangles, too!

Despite having dramatic scenarios that inevitably result in, yes, ruined parties, balls and soirees, “Gossip Girl” manages to push the right buttons. A working symbiosis with its soundtrack helps (key scenes were aptly flavored by Angels and Airwaves and One Republic). This new show already feels like it learned from the better episodes of “Beverly Hills 90210,” “Dawson’s Creek” and “The O.C.,” in that a couple of storylines mostly offer speedy, mature resolutions. Whether it’s reflective of how youngsters in that scene act and react is anyone’s guess.

Regardless, a few things are happening way too fast, so hopefully, it doesn’t burn out and exhaust story ideas before subsequent seasons. For now, though, “Gossip Girl” has the dirt on these heartthrobs and heartbreakers, and you can’t help but keep yourself updated on the latest scoop.