The Man From

Airports are liminal spaces at the best of times, by design; they’re very literally places where you’re meant to pass through almost frictionlessly — with the obvious exceptions of security and check-ins, of course. Having recently traveled back from the UK in a trip that included an extended, unintentional layover of nearly seven hours, I can report that John F. Kennedy Airport in New York City might be the most liminal of all spaces.

By somewhere around the end of the second hour in the airport, I was lying on the floor, my head propped up on one of my carry-on, staring at the stenciled graphics on the ceiling above me. We were only meant to have three hours or so there before boarding the next (and final) flight on our journey home, but the fates had decided otherwise. Within minutes of checking bags and being told, “Your flight is on time, get through security and head for Gate 9,” the board displayed an update: the flight was suddenly delayed 90 minutes. That wouldn’t be the last update throughout the evening.

At some point — hour three, perhaps? Hour four? — it just felt as if I’d always been there. By that point, even the concept of “there” felt like a malleable one: I went into a store for a snack and saw the “I[HEART]NY” logo everywhere and had a brief instant of, Weird. Why would they do that? before remembering, that’s right: I’m actually in New York at the moment, kind of. The idea of any place existing that wasn’t JFK just felt… almost impossible.

Eventually, the plane left, and so did we. But if you told me that it was all a fantasy, and that I really was still there, lying on the floor and wondering if I’d ever leave, I might actually believe you.

In The Wee Small

If I’m honest, I’m not sure if I could have properly described any particular expectations for the Star Wars Celebration portion of the UK trip ahead of time. I knew, for example, that I was likely going to have to deal with jet lag, and I also knew that it was going to be an unusual show to cover; I went to Star Wars Celebration in Chicago a few years back, and I remembered that it was a very odd beast — a show very much weighted towards the beginning of events, opening with a big panel that would break the biggest news, with everything getting progressively less interesting to non-Star Wars fans as it went on.

I also, thanks to my optimism, suspected that it would be a light show, so to speak — one where there wasn’t that much to cover, and with a five-person team there, I’d find myself with lots of free time to go exploring London. Such optimism, as it turns out, was not matched by the reality of the situation, which arguably saw me more present at the show than most shows I’ve attended in recent years, thanks to an unexpected wrinkle that emerged just before leaving for the UK: Morning Queue.

As the name suggests, Morning Queue is helping the lines of con-goers enter the show in the morning. It’s not part of my job description, technically, but Popverse is owned by ReedPop, who organizes SWC for Lucasfilm, and we were all invited to help out on Morning Queue this time around. I’ll be honest: I actually really enjoyed the couple of days I did it; there’s something genuinely fun for me in helping answer people’s questions and directing them to whichever line they needed to stand in depending on where they were going first. If nothing else, the people watching was second to none.

Unfortunately, there’s a drawback to Morning Queue: in order to get there on time, I had to leave the hotel at 6am, which meant getting up around 5 so that I could shower and get ready… all of which happening while I’m struggling through jet lag which was waking me up around 2 or 3 after a few fitful hours of sleep. In other words, Morning Queue and jet lag conspired to keep me utterly exhausted; by the time I’d finished that, it was time to head to my first panel at 10am, and then I’d be working through until 6 or 7 at night. Factor in travel time — or simply just delays for whatever reason — and it was around 8pm when I’d get back to the hotel, giving me just enough time to eat room service for dinner, then go to bed, to get up at 5 the next morning, and do it all again.

The end result is, by the time the show ended on Monday evening, all I’d seen of London was the route to and from the hotel and convention center. Not quite what you’d want from one of the world’s greatest cities, to be honest.

You Can’t Go

If you’re tuning in hoping to read about my trip to the UK, bad news; I’m writing entries ahead of time again, so you’ll have to wait… an indeterminate time, I guess…? (Just because I’m writing them ahead of time doesn’t mean they’re going to run in the order they were written; I’m not that linear, which is a fancy way of saying, “I’m bad at organization.”) That doesn’t mean that I’m not thinking about the trip, which is still a week away as I write, though. Specifically, I’m thinking about the prospect of going back to my childhood home for the first time in… what, 15 years or so?

To be clear, I’m not sure how much of my childhood home still exists, per se. My parents sold it when they were both alive, a handful of years after I’d moved to the US and my sisters had both moved out, and the last time I’ve even seen it — from a car as we drove past it, quickly — it looked as if the three-storey house had been split into two separate apartments with an external stairwell added to the side. It was a weird thing to see in passing, as if someone had drawn over a memory quickly and carelessly.

Since then, I’ve longed to go back and see what’s actually happened to the house. I’ve done the Google Earth thing, of course, but that’s not the same as actually being there. There’s something about the light of Scotland, a quality that feels different than the light in the US; I want to stand in front of the house in that light and… be there, whatever that actually means. I want to get as close as I can to the experience of going home that I felt every time I did it when I was in school.

If that’s even possible.

Throw to Weather

I’ve been watching the first season of The Morning Show recently. Mostly, I started because (a) Chloe’s been traveling, meaning that I can’t watch any of “our shows” which leaves me needing to find something else to entertain myself while she’s gone, and (b) I like the idea of the show in theory; I’m a sucker for stories about the media that try to tread that fine line between drama and comedy and feel as if they have things to say about The Human Condition as well as The Media. That it’s informed by Top of the Morning, a book about U.S. morning shows and the politics that go into their making that I particularly enjoyed way back when, just helps matters. On paper, The Morning Show is very me.

In practice, that’s not so true. It’s clear that the show means well, but that doesn’t necessarily translate into good drama or good television, especially when the meaning well overshadows everything else onscreen. Watching The Morning Show feels, repeatedly, like the work of people who watched Aaron Sorkin’s The Newsroom and thought, “Wait, what if we just did that, but stripped out the attempts at comedy? What if we just did the bits where they’re very convinced that they’re making Grand Statements About Life Today?”

(There are many things that The Newsroom did wrong — not as many as Sorkin’s earlier Studio 60 on the Sunset Strip, admittedly, but that’s not saying much — but the shitty comedy was honestly not one of them for me. Did the jokes always land? Oh God no, not in the slightest. But did I appreciate the effort? Every single time.)

Worse yet, The Morning Show‘s attempts to share Grand Statements are handled clumsily, leading to a season-long #MeToo storyline that includes a scene where the abuser in question rails against his former best friend and co-host of the titular TV program at the heart of the series that America isn’t ready to “accept women’s complicity” in men’s abuse. That’s right! Not all men, some women too, get it? (Steve Carrell, bless him, tries his best with some genuinely bad material throughout.)

And yet, I stuck with it. Partly because, what else am I going to watch, and partly because, well, the show might not be great, but I really am a mark for the source material. That’s going to keep me there for some time… even if the prospect of a second season about the COVID outbreak feels a little daunting, as I head into it.

Boom, Shake The Room

If you’re wondering how the UK trip is going so far, this was the most explosive moment of last Friday. And I mean literally explosive.

Who needs to recharge their phone, right? Or, you know, have a working power adapter that can keep everything else working properly in this country?

You Can Make It If You Try

I am, famously, terrible at taking compliments.

I used to believe this was part of my societal make-up purely from coming from Scotland, a country where it’s far more accepted — and arguably more fun — to take the piss out of yourself as a defense mechanism than to boast of your accomplishments… or, really, acknowledge them in any real manner, outside of a noncommittal shrug and attempt to quickly change the subject. And, don’t get me wrong, I’m sure that’s a significant factor in the who I ended up being today, because how could it not…? However. However.

I’ve had conversations with other people from Scotland, and elsewhere in the UK, about our inability to take compliments, and how we navigate it; I’ve also had conversations with a number of Americans about the same subject, and the ways in which the British method — essentially, just deny everything and pretend that whoever said the complimentary thing is objectively wrong — might actually be rude when you really think about it. And through all of this, I kept thinking one thing: there are some compliments I’m actually okay with.

Specifically, they’re compliments about things that come second nature to me; things that I don’t even think of as being worth noting, never mind complimenting. I am, for whatever reason, good at liveblogging or livetweeting events; I’ve been complimented on that many times, most recently at Emerald City Comic-Con earlier this month, and when that happens, I find myself surprisingly able to say thank you, and move on. No dissembling or argument; I just acknowledge it and say thank you.

What’s the difference? I’m unsure. Is it that if I don’t try, I don’t feel self-conscious if something notices me? Perhaps, but that just makes me embarrassed to consider. Maybe that’s more of the Scottishness that I hadn’t thought about coming out.

You Can’t Go Home Again (Cheaply)

As you read this, I’m likely hurtling through the air. Actually, maybe not; time zones are hard. I think I might actually have landed in the UK by the time you’re reading this…? Well, I definitely will if you’re reading it an hour or so after it’s published. Go with me here — this is far from an exact science.

(I say that, but the passage of time and time zones are, strictly speaking, a pretty exact science. So it goes.)

My point being: I’m in the UK for the next week and a half for work — well, the first half of the trip is all for work, and it’s also the entire reason there’s a trip to the UK at all. I’m covering Star Wars Celebration, a four-day event in London that’ll be filled to the brim with all things Star Wars; I did the same show in Chicago four years ago for THR, and it feels especially weird to be back doing it again for Popverse in an entirely different country. The more things change, I guess…?

The second half of the trip is seeing family — and introducing Chloe to my family in person for the first time, as well as introducing Chloe to Scotland for the first time, too. It’s my first time back there in over a decade, and it’s far too fast for my liking; we basically leave two days after arriving, and so won’t get to see… well, anyone outside of my family, most likely. (Sorry, anyone reading this who hoped to see us.)

I’m excited to go to the UK again, and pre-emptively exhausted by the travel and the work and the constant movement while we’re there. It feels suitable to feel conflicted about going home again. Ask me how I feel about the whole thing when I’m back, though.

Slow Life

March was an odd month, reading-wise. As I noted earlier, I didn’t really read any comics for the entire length of my Seattle trip at the start of the month, essentially removing a week from the month’s worth of reading time. Then, in the last week of the month, I found myself binging The Morning Show in bed on my iPad instead of reading, for reasons that aren’t entirely understandable even to myself. In other words, I could have read more. Instead, I read this:

  1. Teen Titans: Robin OGN
  2. Surfer 2 (Wagner/MacNeil Megazine strip, 6 eps)
  3. Justice Society of America (2022) #3
  4. Superman (2023) #2
  5. Batman/Superman: World’s Finest #13
  6. The Flash #795
  7. Milestone 30th Anniversary Special #1
  8. The Spirit #50 (jam issue)
  9. Wonder Woman (2016) #s 787-790
  10. Batman (2016) #s 131-133
  11. Beneath the Dead Oak Tree
  12. Stray
  13. Food Baby
  14. Minötaar
  15. The Books of Clash preview
  16. Suicide Squad (1987) #s 63-66
  17. Earth-Prime #s 1-6
  18. Batman: Urban Legends #s 11-16
  19. The Joker: The Man Who Stopped Laughing #s 1-6
  20. Unstoppable Doom Patrol #1
  21. Avengers Assemble: Alpha #1
  22. Thanos: Death Notes #1
  23. Peter Parker and Miles Morales: Spider-Men – Double Trouble #1
  24. Justice Society of America (2007) #s 5-8
  25. The Flash (1987) #s 80-84
  26. Justice Society of America (2007) #s 9-13
  27. Batman: Gotham Knights – Gilded City #s 1-4
  28. Fantastic Four (2022) #2
  29. Dark Web: Dusk #1
  30. Justice Society of America (2007) #s 14-22
  31. Justice Society of America: Kingdom Come Special: Superman #1
  32. Justice Society of America: Kingdom Come Special: Magog #1
  33. Justice Society of America: Kingdom Come Special: The Kingdom #1
  34. Justice Society of America Annual (2008) #1
  35. Daredevil (2022) #s 1-6
  36. Hellblazer #s 175-184
  37. Star Trek: Crew #s 1-2
  38. The Complete Dice-Man
  39. Judge Dredd: Blaze of Glory (Al Ewing collection)
  40. Department K: Interdimensional Investigators
  41. Spider-Man (2022) #3
  42. What If…? #200
  43. Immortal X-Men #9
  44. X-Men Red #9
  45. Action Comics #1053
  46. Transformers (1984) #s 1-13
  47. Transformers (1984) #s 14-25
  48. Nightwing #102
  49. Stargirl: The Lost Children #5
  50. Transformers (1984) #s 26-31
  51. Transformers (1984) #s 32-37
  52. Transformers: Head Masters #s 1-4
  53. Transformers (1984) #s 38-50
  54. Transformers (1984) #s 51-58
  55. Transformers (1984) #s 59-72
  56. The Amazing Spider-Man (2022) #15
  57. Dark Web: X-Men #1
  58. The Invincible Iron Man (2022) #1
  59. Monica Rambeau: Photon #1
  60. Transformers (1984) #s 73-77
  61. Transformers (1984) #s 78-80
  62. Punchline: The Gotham Game #6
  63. Batman (2016) #134
  64. Adventures of Superman: Jon Kent #2
  65. The Flash #796
  66. The Joker: The Man Who Stopped Laughing #7
  67. Batman: One Bad Day – Ra’s Al Ghul #1
  68. Octopus Pie: The Other Side
  69. Octopus Pie Eternal
  70. Waller vs. Wildstorm #1
  71. JLA #65
  72. Alpha Flight (1982) #s 29-30
  73. Green Lantern (1990) #s 36-37
  74. X-Men Annual (2022) #1
  75. Gotham City: Year One #s 5-6
  76. Harley Quinn (2021) #28
  77. Superman (2023) #3
  78. Batman/Superman: World’s Finest #14
  79. Nightwing (2016) #103
  80. Alpha Flight (1982) #s 31-32
  81. DCeased: War of the Undead Gods #s 7-8
  82. Alpha Flight (1982) #s 35-37
  83. Green Arrow (2023) #1
  84. Green Arrow (2001) #s 1-10
  85. Star Trek (2022) #s 1-4
  86. Dungeons & Dragons (2010) #1
  87. Gold Goblin #2
  88. Mary-Jane & Black Cat (2022) #1
  89. Alien (2022) #4
  90. Predator (2022) #5
  91. Star Trek (2022) #5
  92. Danger Street #5
  93. JLA #s 66-70
  94. X-Men (2021) #17

Radar O’Reilly And Then Some

The dog has been particularly reactive to the outside world, lately. He’s an anxious dog at the best of times, but in the Spring and Summer, that gets almost incomparably worse because there’s so much activity outside and almost every noise he hears makes him panic. The worst noise of all, it turns out, is the sound of ladders being set up or taken down; whenever that happens anywhere near the house — by which I mean, honestly, anywhere within a one block radius, because dogs have really good hearing — he goes into full-on, running-around-the-house freak-out mode. He runs throughout all the rooms, barking and sounding the alarm: there are ladders close by. We should watch out and be prepared for invasion.

I mention all of this not to make fun of the dog, although there’s no small amount of humor to the whole thing; instead, I bring it up because there’s an unexpected side-effect of dealing with all of this, which is: now I have found myself surprisingly reactive to sounds around the house.

That’s not to say that I’m also running around the house sounding alerts at the smallest provocation (nor that I’d even be tempted to do such a thing; it sounds like far too much work, for one thing), but I can’t deny that my ears perk up when I recognize particular sounds outside the house — especially ladders, it’s true — and I find myself tensing, waiting for the dog to run through and bark in alarm. I feel as if my hearing has ended up being supercharged by the whole thing, much to my amusement, making me wonder both what other sense is going to start failing to balance our this newly enhanced hearing, and also whether this background awareness of everything around me is what it feels like to be Daredevil from Marvel comics.

It’s a cliche to say that people become like their dogs the longer they’re together, I know; I just didn’t think it would happen like this.

Is The Less I Believe It

As chance — and the Spotify algorithm — would have it, I found myself listening to a bunch of Ocean Colour Scene the other day. (I blame the fact that I had been listening to no shortage of 1990s Paul Weller just before that; Spotify probably thought, “Oh, you’re in a Dadrock mood,” somewhat justifiably.)

In the mid-90s, it felt as if OCS, as their fans called them — likely out of a quiet acceptance that “Ocean Colour Scene” is objectively a terrible name for anything, especially a band — were, if not the butt of a particular joke that was difficult to explain to anyone who didn’t immediately, instinctively get it, then at least a band that was on the periphery of not only Britpop, but the wider and more existential concept of “cool.” Imagine the British music scene of the time as an explosion of joy and melody and, yes, even cool; Ocean Colour Scene would be some distance away from the epicenter, with onlookers and scientists arguing over their relative merits, entirely unconvinced.

Listening back to them recently, I went for the songs I remembered liking the most — “The Day We Caught The Train,” “You’ve Got It Bad,” “Hundred Mile High City,” “July” — and I realized that, well, maybe I’d been looking at them all wrong all along. That’s not to say that the songs were any catchier or lyrically any better (Ocean Colour Scene’s lyrics were, often, awkward in such a way that you’d wonder if English was their second language), but that, maybe it’s a mistake to think of them as a band, per se.

This sounds like a joke, but in each of the songs that I liked — or, again, liked the most to be more precise — the thing that was most interesting was always that the center of the whole thing wasn’t the song, per se, not the melody or the lyrics, but a particular sound, or the feel of the whole thing. At their most interesting, Ocean Colour Scene’s music is like tone poems from so far out of left field that they go all the way back to being square again: hymns to a the vibe, except the vibe in question has all the inspiration of a house band covering the Beatles lazily in 1973.

Oddly, this realization made me like them far, far more. Maybe I should go back and revisit all of those Britpop alsoran bands, and see what they sound like today. Is the world really ready for that Cast revival? (Hopefully not.)