
Cutler and Stan (Harry Hamlin and Jay R. Ferguson) rush to the nearest TV to see what’s in store for their characters.

Cutler and Stan (Harry Hamlin and Jay R. Ferguson) rush to the nearest TV to see what’s in store for their characters.

Superman doesn’t like it when someone ruins his story. (Art by Dave Gibbons from 1985’s Superman Annual #11.)
I’ve shunned Twitter’s outbreak of Man of Steel discussion groups. I’ve refused to read any reviews, whether they carry a courtesy spoiler alert or not. I’m even temporarily resisting the urge to read what I understand from several sources (while held at arm’s length, mind you) is a fascinating dissection of the movie by Superman: Birthright writer Mark Waid, a generally awesome comics creator who’s also one of the universe’s most devout Superman fans. Someday I’d love to read his thoughts, but it won’t be this moment.

Does Benedict Cumberbatch’s new entourage stand a chance against hordes of delighted Sherlock groupies?
“There’s a lot of beauty in ordinary things. Isn’t that the point?”
— Pamela Beesly Halpert, May 16, 2013.
Our family spent this evening bidding farewell to the quotidian saga of The Office after seven solidly engaging seasons, one apocryphal season we endured out of customer loyalty, and one mostly improved bonus season to make up for that one. Of all our ongoing TV series, it was the only one we watched unanimously. Whenever the Dunder Mifflin staff spent another work day together, we spent quality time together, like the families of days past that gathered around the old-time radio, the puppet stage, the family plow, or whatever other objects past generations thought were worth gathering around. (Well, at least we did this after my son was old enough to appreciate it and binge-watched the early seasons over one summer vacation.)
Much as churches have constituents who only attend twice yearly on Easter and Christmas, thus do comic books have buyers only seen in stores whenever mainstream media headlines alert all of Earth to the death of a major character. Such casual super-hero fans are doubtlessly well aware of this week’s main event, courtesy of DC Comics and Batman Inc. #8.
If you’re somehow not aware of the heavily publicized ending and were hoping to read it for yourself this weekend or during spring break, you may wish to stop reading now, and possibly unplug your Internet this instant. You’ll also need to see if someone can sell you a coverless copy of the issue, because the cover broadcasts the ending with no attempt at subtlety or surprise. I trust this is sufficient spoiler alert for the two comic-collecting hermits out there unaware of the character’s fate in question. Now’s your chance to flee and save yourselves.
Onward, then:
“It’s been a long trip.”
Charlie summarizes the series to date with five simple words during the long-awaited family reunion that comprises this week’s fall-finale episode of Revolution, “Nobody’s Fault But Mine” (title taken from another Led Zeppelin track, because last week’s tribute episode demanded an encore). After a 760-mile walk from Wrigley Field in Chicago to Independence Hall in Philadelphia for the sake of her brother Danny, she’s calm and resolute all throughout, even when everyone but Miles is naturally taken captive in the first ten minutes. Blame Miles for putting his trust in an ineffective friend named Kip (special guest Glynn Turman — ex-Mayor Royce from The Wire!) who’s useless against the brute competence of Major Neville’s henchmen. Everyone is spirited away so they can be bait in Neville’s obvious trap for Miles.
As this week’s new Revolution episode “Kashmir” opens, Our Heroes have commuted a full 280 miles from last week’s endpoint in Ford City, PA (or wherever the Allegheny rapids dumped them south of that), all the way east to West Chester, twenty miles west of destination Philly, and home of a Rebel Alliance faction led by special guest star Reed Diamond. The costar of TV’s Dollhouse and Homicide: Life on the Street was a welcome change of pace from the long line of guests I haven’t been recognizing. I presume this means the show’s mighty ratings have finally earned it a higher casting allowance.
In this week’s new Revolution episode, “Ties That Bind”, it’s finally Nora’s turn in the flashback spotlight. Intense situations evince memories of her post-blackout childhood in Texas. Her mother was murdered by home invaders in San Antonio; her father was last known to be in Galveston; and her younger sister Mia was close by her side. Throughout the ensuing years of chaos after the blackout, the two orphans would learn to rely on each other and no one else, not unlike last week’s gaggle of gun-toting independent orphans.
(Incidentally, said orphans are nowhere in sight this week. Presumably Our Heroes inspected the abandoned half-building where they were dwelling, deemed it safe enough for them to raise each other, and bade them a hearty farewell with no fear whatsoever that the Monroe Militia would come mow the rascals down.)
The moral of this week’s new episode of Revolution, “The Children’s Crusade”: nothing weighs more heavily on a conscience than watching others suffer for our sins. Nowhere is this more radically demonstrated than when our man Miles finally finds himself moved by something other than Charlie’s harping about Doing the Right Thing. He realizes that his duties as former evil assistant overlord of the Monroe Republic included unwitting orphan-making. When Our Heroes encounter ragtag Lord of the Flies refugees, something inside Miles’ head asks: won’t someone think of the children?
I had assumed that this week’s new episode of Revolution, “Sex and Drugs”, would begin with Nora perfectly fine and her stab wound from episode five healed over nicely. Instead, last week’s fake episode recap turned out to be 10% prescient, as her wound became infected and demanded serious medical attention. Rubbing dirt in it just wasn’t working. Maybe she was doing it wrong.