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.)

The End (Not Really)

I’m not entirely sure how to describe what I spent the last week or so doing, outside of the usual everyday “work and eating and cleaning just to get through the day” existence. The phrase “Taking care of business” is both apt and descriptive, but also sounds like the kind of euphemism preferred by shitty trailers for shitty movies from the 1980s to refer to some romantic and/or sexual congress that will ultimately fail to happen for reasons that are, apparently, hilarious and touching.

And yet, I have been taking care of business: I’ve had to book flights and hotels for the upcoming UK trip — which included actually sitting down and working out where and when said flights and hotels need to be, and how expensive that would be without breaking the bank (spoilers, I failed that last part; international travel is not cheap, friends.) — as well as work out just what the fuck I was going to do about taxes this year after the surprise retirement of my accountant after something like a decade of faithful service. That’s not including various behind-the-scenes elements of my job that also include reimbursements and travel plans and the like. I’ve been planning the important plans; I really, genuinely have been taking care of something that could easily and deservedly be called “the business.”

It’s been exhausting.

Here’s the thing; I am very bad at doing these things. Or, more correctly, I’m very good at doing them but none of it comes naturally. I don’t have the important mix of macro and micro focuses such things need to work properly, at least in the measures necessary to do it right; I get hung up on the strangest details and have to unplug my head after awhile because I start thinking like a journalist — “why is this the case, let me follow this thread” — instead of, you know, just completing the task. As a result, everything takes a little bit longer to finish than it probably should, but there’s an upside: everything else I accomplish while distracting myself from the task at hand.

(That sounds like a joke, but it’s not; in avoiding finishing taxes, I managed to clean a bathroom and the kitchen, sweep the stairs and the entire first floor, and take out the trash and the recycling. Would that I could be so productive on other occasions.

I tell you all of this because, as I type this, I have finished everything that’s been hanging over me for… the past couple of months or so…? I can’t quite believe it’s true, but I take comfort in one horrifying fact: there’s going to be more to deal with almost as soon as I finish this sentence. That’s how it works, these days.

There’s a Great Big Crack in the

Watching Blur: No Distance Left To Run the other week, I had this unexpected moment at the very start of the movie that threw me off far more than I would have even imagined: a split-second shot of the Union Jack, flying in slow motion.

It’s something that only makes sense for the movie; Blur was, after all, one of the two leading lights of Britpop back in the day, so of course you have the British flag right there at the start, to set the scene. And yet: I had this really surprising reaction to it, almost viscerally.

I’m far from patriotic at the best of times, and when I even think of the idea of “patriotism,” British isn’t even something that I consider immediately; I think of being Scottish, and American, before I think of the idea of being British. (I suspect the “Scottish/British” thing is a whole subject in and of itself; I suspect there’s an entire contingent of Scots who don’t necessarily think of themselves as British, for whatever reason. Oh, the class and social systems and all their complications…)

The Union Jack was omnipresent in my twenties, because of Britpop. It was in posters, on single covers, on television, on clothes, on Noel Gallagher’s fucking guitar; it was the graphic that defined the age, somehow, at a time when the British Empire was the very opposite of a fond memory.

Is that why I had this instant revulsion to the flag when I saw it on the screen when I saw it? Was it some delayed rejection of the image of the age from my youth? Or some rejection of the very idea of patriotism for a county I don’t even necessarily believe in? I’ve thought about it a lot, and I still don’t have an answer. All I know is that, somehow, I’ve come to instinctively reject the idea of “Britishness” and look for something else, something more real. Modern life, perhaps, is still rubbish.