Read 26 Indy Reading Challenge for 2014
Early in January of 2014, Indy Star Reporter Michael Anthony Adams issued a challenge to Indiana residents for the new year:
New Year’s resolutions are rarely acted on. I’m guilty of it, and you’re guilty of it. The trick is to have support, which is exactly what #Read26Indy is. But instead of having a few friends hold you accountable for your vows, you have an entire city.
The pledge: I’m calling on every Hoosier to read 26 books in 2014. Think of it as your informal education, a collective challenge. One book every two weeks. That’s 20 pages a day (if you figure that the average novel is 280-300 pages long). When you start a book, let everyone know about it on Twitter by using the hashtag #Read26Indy. Feel like telling us what you’re drinking while you’re reading? Have at it, but use #Read26Indy. Can’t stand a character? Want to rant about it? #Read26Indy is your pedestal. The point is to read. Like Faulkner said, “Read, read, read. Read everything — trash, classics, good and bad.”
Can’t decide what to read? Tweet it out. #Read26Indy has already gathered a large following, and people are eager to tell you about their favorite books. I’ll also be keeping this page up-to-date with what I’m reading and I urge you to join our Goodreads group, #Read26Indy, to discuss your picks with other readers.
Part way through January, they mentioned that comic books count! I could finish in a couple weeks if I include them. For my personal challenge, I’ll note comic books but not count them against my official total. I’m going to pin this post to my main page and update as I add titles throughout the year.
So far my finished titles are:
This Is How You Lose Her
Author: Junot Diaz
Rated: 4 stars. Very well written with strong characters. I just had a hard time identifying with the protagonist, because all of his problems came through his own self-absorption.
The Goldfinch
Author: Donna Tartt
Rated: 5 stars. Everything I love about reading – being so caught up that I forget the rest of the world exists, wanting to highlight whole passages and re-read whole sections, frantically looking up quotes and references to get at additional layers of meaning – all come together here. The book I set down after the I finished the last page is a completely different one than I thought I was reading after the first chapter, and winding up in a different place than I expected and yet feeling like it all made sense and could be true is, I think, a hallmark of a truly skilled author.
Author: Matt Fraction
Rated: 4 stars. Smart and sardonic, the story of a hapless hero who seems to swing and miss an awful lot. Beautifully drawn work.
Author: Sam Killermann
2022 update: – I’ve since come to understand that Sam Killerman is a cisgender man who co-opted the work of many transgender people to put together this guide, and unfortunately he makes money on it at the expense of the people who originally wrote the work.
But the book really shines when it leads you through understanding of gender and especially how people who don’t conform to the male/female gender binary see themselves in the world. It’s eye-opening and will change your perspective in a healthy way for yourself and the people around you.
Author: Rob Thomas
Rated: 3 stars. Iffy. It didn’t advance the story threads that were left open in the movie at all.
Author: Chaz Bono.
Rated: 3 stars. I understood Chaz’ story a lot better, and had a lot of sympathy for what he dealt with in coming to terms with his gender identity. I had trouble relating to some of the ways he spoke about transitioning, because he rejected completely and didn’t identify with any female experience from his life. I think in contemplating my own gender identity I feel an ownership of both feminine and masculine experiences and identities, so the way Chaz wrote about things seemed foreign to me. After reading this I watched the documentary “Becoming Chaz” and related a lot more to what Chaz was saying as he transitioned on screen. In some cases that seems hard to put into words, but when Chaz speaks with his own voice it’s easier to understand.
Author: Rick Copp
Rated: 1 star. This is a terrible book and I’m not going to link to a sales page for it. It’s incredibly transphobic – in fact it’s worth spoiling the “mystery” – the killer is a trans woman who commits murder to pay for her transitions. Because of course those crazy trans folks will go nuts and murder people in order to transition. Just a piece of crap writing all around.
Author: Helene Wecker
Rated: 5 stars. A delightful read by a first-time author. Very impressive.
Author: Claire Messud
Rated: 4 stars. I have a friend who disliked the ending, but I loved it. I was afraid it was going to be a tragic book throughout, but was happy to find that was not the case.
Author: Holly Peterson
Cute children’s book that I happened to buy a single framed page of several years ago. Tony finds a series of clues and follows them to find a treasure.
Author: Maggie Shipstead
Rated: 4 stars.
Funny, exasperating, self-absorbed white people who behave outrageously while convinced they’re proper and upstanding. It seemed very realistic to me. Not sure why there are so many angry reviews about this book on goodreads. Certainly the characters were idiots, but they were engaging idiots.
Author: William Kuhn
Rated: 3 stars.
An upcoming book club selection, so I’m bound by the first and second rules of book club – “Don’t discuss the book before book club” I’ll circle back and write a review after.
Author: Robin Sloan
Rated: 3 stars
Another fun light read. It prioritizes using technology and computers over doing the work yourself, and seems to promote the idea that reading is done strictly for data gathering purposes. A very google-like approach to books that entirely misses the point. As does Google, in general.
Author: Donna Tart
Rated: 4 stars. I enjoyed the storyline but didn’t really care for any of the characters, even the protagonist. A bunch of jackasses, all of them. It’s well-written and smart but I feel some impatience at stories where there are literally no sympathetic characters in sight. I supposed there are groups of utter jerks out there, but why bother with them? Do we need to hear their stories?
Author: D.E. Smith
Rated: 4 stars.
When I picked up this funny little book to read the back cover, I was dismayed to find that it was very like a story I was writing myself about a woman who writes about her neighbors in a smash hit book and then has to weather the storm of their consternation. I was a bit put out, actually, until I realized the story was originally published in 1936 and reprinted recently with a very charming cover. I suppose I can’t be too upset that someone had the same funny idea I did 32 years before I was born. And my story only starts there and then gets pretty racy, where this book remains charming and sweet throughout. The characters are sharply drawn and the controversies are small, the conceit of a book within a book is nicely recursed with yet another book being written by the characters of the book inside the book inside this one, and there is a rather outrageous denouement with a kidnapping that it’s fairly easy to forgive given that they satirize it themselves. They only think the didn’t tie up was whether the Mrs. Goldsmith’s dilemma with the bakery buns solved itself; they leave you to return to the beginning and work it out yourself.
A Brave and Startling Truth – Maya Angelou
NY Times: Maya Angelou, Lyrical Witness of the Jim Crow South, Dies at 86
We, this people, on a small and lonely planet
Traveling through casual space
Past aloof stars, across the way of indifferent suns
To a destination where all signs tell us
It is possible and imperative that we learn
A brave and startling truth
And when we come to it
To the day of peacemaking
When we release our fingers
From fists of hostility
And allow the pure air to cool our palms
When we come to it
When the curtain falls on the minstrel show of hate
And faces sooted with scorn are scrubbed clean
When battlefields and coliseum
No longer rake our unique and particular sons and daughters
Up with the bruised and bloody grass
To lie in identical plots in foreign soil
When the rapacious storming of the churches
The screaming racket in the temples have ceased
When the pennants are waving gaily
When the banners of the world tremble
Stoutly in the good, clean breeze
When we come to it
When we let the rifles fall from our shoulders
And children dress their dolls in flags of truce
When land mines of death have been removed
And the aged can walk into evenings of peace
When religious ritual is not perfumed
By the incense of burning flesh
And childhood dreams are not kicked awake
By nightmares of abuse
When we come to it
Then we will confess that not the Pyramids
With their stones set in mysterious perfection
Nor the Gardens of Babylon
Hanging as eternal beauty
In our collective memory
Not the Grand Canyon
Kindled into delicious color
By Western sunsets
Nor the Danube, flowing its blue soul into Europe
Not the sacred peak of Mount Fuji
Stretching to the Rising Sun
Neither Father Amazon nor Mother Mississippi who, without favor,
Nurture all creatures in the depths and on the shores
These are not the only wonders of the world
When we come to it
We, this people, on this minuscule and kithless globe
Who reach daily for the bomb, the blade and the dagger
Yet who petition in the dark for tokens of peace
We, this people on this mote of matter
In whose mouths abide cankerous words
Which challenge our very existence
Yet out of those same mouths
Come songs of such exquisite sweetness
That the heart falters in its labor
And the body is quieted into awe
We, this people, on this small and drifting planet
Whose hands can strike with such abandon
That in a twinkling, life is sapped from the living
Yet those same hands can touch with such healing, irresistible tenderness
That the haughty neck is happy to bow
And the proud back is glad to bend
Out of such chaos, of such contradiction
We learn that we are neither devils nor divines
When we come to it
We, this people, on this wayward, floating body
Created on this earth, of this earth
Have the power to fashion for this earth
A climate where every man and every woman
Can live freely without sanctimonious piety
Without crippling fear
When we come to it
We must confess that we are the possible
We are the miraculous, the true wonder of this world
That is when, and only when
We come to it.
children’s treasure hunt book with clues in pig latin
I bought this framed page of a children’s book several years ago, and I’ve been trying to track down the book it came from without much luck.
If you happen to recognize it, please let me know. I’d be really grateful.
Writing off Jennifer Weiner
I don’t know how it’s possible, but after reading this New Yorker profile “Written Off” by Rebecca Mead, I love Jennifer Weiner more than I did before reading it, although it’s widely being described as “a take-down” piece. The profile starts out fine, but about half-way through, the paragraph that starts “Weiner has also taken literary inspiration from her mother…” is the point where the whole thing just skates off the rails (Mead’s suggestion that Weiner’s lesbian characters are somehow anti-gay is bogus, small and unworthy of that publication) and Mead begins just coloring on the walls rather than finishing her work. I’m not sure whether I respect Mead’s audacity more for just saying “aw fuck it, I’m writing myself into a corner” in the middle of an article for The New Yorker, or The New Yorker’s for publishing it without fixing it, or apparently, even realizing it needs to be fixed.
This paragraph is so funny I had to get up and go to the bathroom and pee before I could finish:
A novel that tells of the coming of age of a young woman can command as much respect from the literary establishment as any other story. In 2013, Rachel Kushner was nominated for a National Book Award for her hard-edged exploration of this theme, “The Flamethrowers,” and the previous year Sheila Heti won accolades for her book “How Should a Person Be?,” even though it included both shopping and fucking. The novel, and the critical consensus around what is valued in a novel, has never excluded the emotional lives of women as proper subject matter. It could be argued that the exploration of the emotional lives of women has been the novel’s prime subject. Some of the most admired novels in the canon center on a plain, marginalized girl who achieves happiness through the discovery of romantic love and a realization of her worth. “My bride is here,” Mr. Rochester tells Jane Eyre, “because my equal is here, and my likeness.”
Emphasis very much mine. I can’t even with the Jane Eyre in a discussion of women in contemporary literature.
The thing that is almost entirely missing from this article is any detailed analysis of Jennifer Weiner’s case for re-thinking what is and what should be considered “literary merit.” Her critique is a serious (and valid) one, and not to be dismissed, but Mead attempts to ignore it almost completely, falling back on George Eliot’s 1856 essay to bolster the blinders she keeps, while ignoring the very points she lightly quotes about Weiner’s thoughts early on in the piece.
A loose paraphrasing of Weiner’s ideas:
- that the two great contemporary literary themes “white men doing great things or failing in the attempt” and “oppressed peoples struggling against a harsh society” leave some serious gaps of examination of human experience
- that white middle-class modern women’s life experiences (one of those missing pieces) are not just fluff (shopping and fucking? really?), and to dismiss them as such is fundamentally sexist
- that regular, ordinary people really do, actually, often achieve happy endings, and this is valid literary subject matter
- that literature doesn’t have to be painful to have great affect on us
- and that taking comfort in things that are uplifting can actually lift us up, and that has value
If you change the lens on the microscope by which you analyze writing, both commercial and literary, with many of these ideas in mind, you realize quickly that contemporary literary criticism leaves a lot of worthy writing behind, especially the writing of women.
Mead dissects and dismisses several of Weiner’s books in this piece by refusing to think of them in this proposed new context, instead shoving them under the traditional lens of “The Old-Tymey Rules of What is Good Literature” while willfully ignoring that more and more women are successfully challenging the notion that these long accepted “Rules” have some serious bias in the way of both sexism and snobbishness. That Mead has to reach as far back as George Eliot and Charlotte Brontë to make her case in discussing a contemporary author and her place in contemporary literature says a great deal about how weak her case is.
I can’t imagine how Mead interviewed Weiner, read large sections of the woman’s twitter account, and listened to her speak about women, commercial fiction and the place of both in contemporary literature and yet got Weiner’s voice so very wrong. The woman is not exactly smoke and mirrors; there isn’t a facade there. Weiner’s pretty straight-forward, and it’s impossible to follow her on twitter for any length of time and not come to think of her as self-reflective and open. I can’t imagine how Mead spoke to her and didn’t come away seeing her as genuine, but she didn’t.
Mead also bolsters a wide-spread belief that “Jennifer Weiner has two audiences. One consists of the devoted consumers of her books, which have sold more than four and a half million copies…. Her other audience is made up of writers, editors, and critics.” Even Weiner apparently believes that to be true, and I guess she would know her own audience(s), but I find it hard to believe those two audiences are entirely separate. I definitely bridge that gap.
In the end, Mead decides that Weiner is just whining; that her work doesn’t deserve critical recognition, not because it’s viewed through a sexist and snobbish literary lens, but because of:
the perfunctory quality of some descriptive passages, or of the brittle mean-spiritedness that colors some character sketches. (Readers looking for fairness and kindness will not always find those attributes displayed by Weiner’s fictional creations.)
That was a jaw-dropping statement for me; that same statement could be could be made about sections of work from many contemporary male “literary giants” including Roth, Franzen, Eugenides, Chabon, David Foster Wallace, men who clearly receive great critical recognition, some of it deserved and sometimes not so much.
Mead goes out of her way at the end of the piece to tie Weiner back into her place as “chick lit” by describing in detail the women who come to have their books signed, and how they measure her books against what Mead clearly considers the irrelevant minutia of their own lives, an ending I found as lazy as most of the article.
My DC Comics Pull List Purge
The only comment that DC Comics has made so far about the epic fuck-up that they have made with Batwoman and refusing to allow her to be married [Batwoman writers leave DC Comics over ban on same-sex marriage] is this:
“As acknowledged by the creators involved, the editorial differences with the writers of BATWOMAN had nothing to do with the sexual orientation of the character.”
This has been their statement to many media outlets, and is, apparently, in reference to this tweet by J.H. Williams:
@GailSimone @theJohnChihak Gail is right, but it still should not be a story to be avoided, but embraced fully.
— J.H. Williams III (@JHWilliamsIII) September 5, 2013
Annnnnd here’s why that is complete and utter bullshit on the part of DC
Like it or not, comics are not immune to the political realities of the real world we live in. Comics don’t exist in a vacuum; they speak to us as readers because they have some significance to our everyday realities. Otherwise, why bother to introduce a gay character into a comic book at all? The point of course, is that we want to identify with the heroes of comics – that we want to related to them and imagine being them. For gay people, seeing a character like Kate Kane existing, carrying out her job and also balancing the realities of romantic relationships is appealing because it touches on our real lives. She has to go through some of the same difficulties and triumphs that we do in order to keep our attention.
And like it or not, same-sex marriage is a huge, emotionally-complex thing that we as LGBT people are dealing with. It has relevance to gay characters in comic books as much as it does to us in the real world. There’s just no way to side-step that issue with any gay character right now. And because of that, there is simply no way that you can separate the subject of Batwoman’s romantic relationship from her sexual orientation.
Because the character’s sexual orientation and romantic life are on the table as subject matter for the comic book, allowing or disallowing her to marry is inextricably bound to the current global climate on the subject of same-sex marriages. And banning her from getting married has a very different connotation than it does for heterosexual characters. There’s no way that doesn’t resonate with real people being banned from getting married and amplify the issue to all readers, no matter whether DC wants it to do so or not.
As Williams said, specifically for this character – “but it still should not be a story to be avoided, but embraced fully.” If you are going to have gay characters in comic books, marriage HAS to be addressed. There’s no way this subject CAN’T come up.
Two days have passed since this news hit the press. Comic Book Resources is running a poll – Will You Be Interested In “Batwoman” Once J.H. Williams & W. Haden Blackman Exit the Series? The current results stand at 83.6% – No. 16.4% – Yes.
Given that there are 6,697 news articles on this issue currently out there on the web, almost all with some completely damning version of a headline like “Batwoman Writers Quit as DC Comics Prohibits Lesbian Marriage” I would have expected a much more complete and thoughtful response on the part of the company at damage control. But… apparently not. I’m not inclined to give the company any more time to craft a satisfactory response, given that they have been wrangling over the issue with Batwoman’s authors for quite some time on the issue, and they didn’t seem to be prepared with any sort of complete or statement about their position.
I can’t imagine they didn’t realize what a massive mistake this would appear to be, and yet… no real acknowledgement of their LGBT readers at all other than a terse statement.
My pull list from my local comics shop yesterday was this:
- Ame Comi Girls
- Batgirl (I’m so sorry to do this, Gail Simone)
- Batwoman
- Birds of Prey
- Captain Marvel
- Fearless Defenders
- Katana
- The Movement (Again, really sorry, Gail)
- Red Sonja
- Supergirl
- World’s Finest (Power Girl & Huntress)
- X-Men Now
- Young Avengers Now
And my pull list as of this afternoon, when I dropped in to change things around:
- Batwoman (until issue 26, the last Williams/Blackman book)
- Captain Marvel
- Fearless Defenders
- FF (the fantastic four spin-off by Matt Fraction)
- Hawkeye
- Red Sonja (I had to keep at least one Gail Simone thing)
- X-Men Now
- Young Avengers Now
There are some other independent books that I’ll probably add in, too. I’ve been meaning to investigate other publishers, and now I’l have time for that.
It kills me that my childhood favorites – Wonder Woman and Batgirl – are no longer in my comic book reading, and that the thing that pulled me back into comic books after I stopped reading in college was the DC New 52 reboot. They got me back into comics, and then turned around and kicked me out again. So – good job, DC at attracting women to your readership, only to alienate them again and push them on to better work.
Batwoman writers leave DC Comics over ban on same-sex marriage
J.H. Williams III and Haden Blackman — longtime writers of the Batwoman comic book — are leaving DC Comics over a dispute about editorial changes to their planned story lines, including being forbidden to show the main character marrying her same-sex partner. Cross-posted by the authors to both author sites:
Unfortunately, in recent months, DC has asked us to alter or completely discard many long-standing storylines in ways that we feel compromise the character and the series. We were told to ditch plans for Killer Croc’s origins; forced to drastically alter the original ending of our current arc, which would have defined Batwoman’s heroic future in bold new ways; and, most crushingly, prohibited from ever showing Kate and Maggie actually getting married. All of these editorial decisions came at the last minute, and always after a year or more of planning and plotting on our end.
In response to questions about the issue, J.H. Williams clarified:
@andykhouri Not wanting to be inflammatory, only factual- We fought to get them engaged, but were told emphatically no marriage can result.
— J.H. Williams III (@JHWilliamsIII) September 5, 2013
DC Comics has had serious problems in the past with public disputes with authors over comic book story lines. In December of last year, the comic book company fired fan favorite Batgirl writer Gail Simone only to turn around and rehire her after an embarrassing public backlash. Simone didn’t delve too deeply into specifics, but did say that last-minute editorial decisions and push-back on treatment of a transgender character were involved.
Back in 2010, DC Comics also had difficulties with the previous Batwoman writer/creator Greg Rucka over editorial control of his work on Batwoman. Except for saying ‘he realized that he “needs to [tell] the stories he wants to tell again,” rather than getting complacent at DC,’ Rucka didn’t get specific about what the issues with DC were, but in retrospect it seems safe to speculate that Batwoman’s love life may have had something to do with it.
DC Comics has also been embroiled in controversy about same-sex marriage issues in the past after they hired famous homophobe and same-sex marriage opponent Orson Scott Card to write a single-issue of a Superman comic. Public backlash caused the book to eventually be put on permanent hold when no artist was willing to work on the book due to the publicity.
For DC Comics, this is a fuck-up of epic proportions. The blog DC Women Kicking Ass suggests that it’s not necessarily a problem with homophobia but an anti-marriage-in-general stance on the part of DC, since they’ve broken up Superman’s marriage to Lois Lane and some other prominent super-hero marriages. I’m not sure whether I believe or care if that’s the issue. Another set of tweets between authors Gail Simone and J.H. Williams support that theory:
@GailSimone @theJohnChihak Gail is right, but it still should not be a story to be avoided, but embraced fully.
— J.H. Williams III (@JHWilliamsIII) September 5, 2013
Tentatively, my plans are to keep getting Batwoman through the end of Williams/Blackman’s story arc – issue 26 – but after that, I’m going to cancel it. Based on the news over the next few days about this, I’m probably also going to cancel – right away – every other DC title I’m currently getting. I’m not going to continue supporting a company that seems to have such a public problem with gender and sexuality issues. I have better places to spend my money – like Marvel and independent publishers.
As acknowledged by the creators involved, the editorial differences with the writers of BATWOMAN (pt 1)
— DC Comics (@DCComics) September 5, 2013
had nothing to do with the character's sexual orientation. (pt 2)
— DC Comics (@DCComics) September 5, 2013
They may wish that, but it isn’t the case. The fact is that one of the only same-sex marriages in comics was just banned; there’s no way it could be about anything other than sexual orientation. It has huge implications. It was, as I said above, a fuck-up of epic proportions.
Supergirl First
The case for why DC should tackle a Supergirl movie before a Wonder Woman movie.
I wrote a little bit a few weeks ago about the importance of getting the Wonder Woman storyline right when she is written in comics, books, television and movies. If I had a huge ego, I’d say the folks at DC Comics read what I wrote, (I’m sure they didn’t!) because Diane Nelson, new President of DC Comics just came out with a statement about writing Wonder Woman for the big screen in an interview with the Hollywood Reporter on DC Comics movie strategy over the next several years.
Nelson: We have to get her right, we have to. She is such an icon for both genders and all ages and for people who love the original TV show and people who read the comics now. I think one of the biggest challenges at the company is getting that right on any size screen. The reasons why are probably pretty subjective: She doesn’t have the single, clear, compelling story that everyone knows and recognizes. There are lots of facets to Wonder Woman, and I think the key is, how do you get the right facet for that right medium? What you do in TV has to be different than what you do in features. She has been, since I started, one of the top three priorities for DC and for Warner Bros. We are still trying right now, but she’s tricky.
I agree there are some pretty high stakes in getting a Wonder Woman movie off the ground. Unfortunately due to the world we live in, a failed Wonder Woman movie would be seen as the inability to sell any female superhero. Batman can bomb and get more movies. Superman can choke and still get another reboot. But Wonder Woman wouldn’t get another shot if her movie failed, because no one would be willing to take a critical look at why the movie failed; they’d just chalk it up to “women’s stories don’t sell” even though that would almost certainly not be the problem.
I don’t think the story line of Wonder Woman is all that tricky, really. For one thing – start without an origin story. Just drop her into the action – In medias res, kicking butt and taking names. Then make small references to her origin story where it’s absolutely needed, and leave the rest up in the air. Let it be a mystery you fill in about movie 2 or 3. Wouldn’t that be a fresh take on a superhero movie? Start by showing, not telling, and from the point of view of the average person on the street, who wouldn’t know or care about what’s going on on Mount Olympus, but who does give a crap about what’s happening around them.
Stop talking about gods and goddesses (especially when they get them all wrong) and just have Wonder Woman work on some issue of global injustice, especially one that relates to women. Also drop the “female superheroes get female super villains” trope (which I REALLY need to devote a whole blog post to!) and have her fighting some patriarchal cultural problem with male bad guys. Because look at the reality of the world – 85% of the time, the bad guys are men.
Go back to “the Amazons are alive and they’re good guys” stories of the Lynda Carter Wonder Woman era, but wait to reference why she left the island and all that until future movies. Then go back to the “clay baby” origin story, and the Perez origin story in particular. Compelling story lines could be made with those elements, without rubbing anyone – most especially me and other feminists – the wrong way. And really, for Batman and Superman, it’s important to tell their origin stories, because they’re pretty big babies, full of angst and woe. Wonder Woman is strong and confident and capable and doesn’t need an emotionally unstable childhood to explain her frame of reference.
Nothing is tricky about all that. What’s tricky is that there are a bunch of men involved in DC Comics who really don’t want any of those story lines to happen, because they’re pretty sexist and can’t manage to reconcile good storytelling, what the public wants to see in a superhero movie, and what they need to uphold for the integrity of Wonder Woman as a cultural icon. That’s not a problem with Wonder Woman; that’s a failure of imagination with DC Comics staff. If I were a betting sort of girl, I’d bet that the Joss Whedon story that got canned was something along the lines of what I outlined above. (I am a betting sort of girl, BTW.)
I kind of agree that I’d rather not see them bomb with Wonder Woman. So I’ve been writing in every comments section I can find about what I think they should do – start with another female character. Specifically; start with Supergirl.
There are some good reasons for doing it that way:
- Supergirl already had a fairly successful movie that people like many years ago.
- They just had a very successful Superman movie come out recently.
- Supergirl is pretty straightforward, if they use the very popular Candor/Identity origin story. The advantage of that would also be Angry Supergirl, and nothing is better than Angry Supergirl. If you’re writing Angry Supergirl, she can be “Ripley in Aliens” badass, and she could tackle a lot of cool global issues story lines.
- Casting would be easy, because they answer is a really obvious one: Dianna Agron. She looks the part, and she does Angry Face really well. She’s also a competent actress that could carry a movie if she’s given a consistent and well-written role, unlike anything she was handed on Glee.
- I love Supergirl almost as much as I love Batgirl, and slightly more than I love Wonder Woman. And everyone should make me happy at all times.
- A good Supergirl movie would set the stage for Wonder Woman nicely. You could do something interesting like just have Wonder Woman show up at the end of the movie to invite Kara Zor-El to hang out at Paradise Island for awhile, setting up the “in medias res” story for Wonder Woman that I outlined above.
Who knows, maybe the powers at DC Comics are reading my blog and some of these ideas will wind up on screen. Probably not. But I can dream.
It’s Finally Ironic – cover of Alanis Morrissette’s song
Featuring re-written lyrics describing episodes that are actually ironic, and not just unfortunate. Nicely done, ladies. You win English today.
