EW's PopWatch blog on the popularity of superheroes on TV w/ a big ole photo of TW, natch.
Unfortunately, Scott Brown goes on to endorse the whole "Chlois" thing in a mainstream forum. Boo!
http://popwatch.ew.com/popwatch/2006/10/hero_and_superh.html
Hero and Superhero: Comics, all growed up
Superheroes: For a bubble that was supposed to have burst a couple of Blade sequels ago, theyve shown remarkable staying power in the fantasy-hungry mainstream. They are, it would seem, whats for dinner, now and forever.
So lets talk about them: The Heroes, the
Hiro, and, of course, the HeroNumero Uno, Big Blue, He Who Had
Not Such a Great Summer At the Movies but
Hey-Theres-Always-Television.
Let me begin by celebrating the passing -- or, at least, waning -- of a theme: the
superhero-as-metaphor-for "otherness," difference, nerdiness, and purple-nurple-getting. Sure, its valid. Sure, its a potent idea for the core readers of comic books, who have their own nurples -- real, metaphysical and imagined -- to display as war wounds. But Im just not sure I buy it. Im not sure I buy beautiful, godlike Clark Kents 60,000th lament about not fitting in. (Not when he looks like Smallville's Tom Welling, pictured.) Im not even sure I entirely buy Heroes Claire bellyaching over how her invincibility clashes with her spiffy 1950s cheerleader outfit. (Though, on a more positive sidenote, I do like the suggestion planted in this
Tim Kring interview that Milo Ventimiglia's Peter Petrelli may be a Rogue-style parasite.)
Basically, I think all people -- geek and jock alike, and Americans, especially -- suspect theyre superheroes anyway, either as an entitlement or a coping mechanism. So whats the big surprise when they find out they actually are? Like Hiro, the breakout favorite on Heroes, they knew they had it in them all along. Just once, Id like to see a character who genuinely cant distinguish his adolescent license-to-drive self-assuredness from his very real (and possibly dangerous) superabilities.
Sure, there will always be disenfranchised nerds, looking for empowerment fantasies. But the world has changed. The pop culture center has shifted, and the nerds are now the nexus. (Just look at the ratings for Heroes.) This new world demands a steady diet of fantasy. Draw whatever
religiopolitical conclusions you want from that statement, but know this much: The sweaty dreams of nerd empowerment are coming true, in this world and in the fantasy worlds weve created. The question isnt one of being different: The question is one of being better. Its that scary, Nietzschean side of the superhero equation, the more frightening, less attractive side. The hero as aggrieved, ostracized outsider was fine for those first few seasons of Smallville, but its time to grow up, grow out, and face the toughest question of all: What does it mean to be "better" in a world where the real-life X-men are Google guys and, lets face it, theres a lot more
red kryptonite than green? That was the world hinted at in The Incredibles, the best mainstream superhero distillation to date, which some saw as a
Red State celebration of and apologia for unbridled American exceptionalism.
On an entirely different subject: Al Gough and Miles Millar, I implore you, please let the
Chlois Theory be somehow true. I dont like tortured, multidimensional crises in my comic-book universe any more than you do, but if thats what it takes to make
Chloe (Allison Mack) the real Lois Lane, then, by Zod, do it. Sorry, Temp Lois (
Erica Durance). You've been shown up. The Mack Lois is simply a superior being, and ain't life cruel?
Posted by Scott Brown | 10.16.06, 07:22 PM