No, it's not a typo: Apple's newest creation is the iPad. Although it sounds like a super-technologically advanced menstrual device to me, Mac's iPad (say that three times fast...) somehow made it through God-only-knows-how-many levels of executive command without anyone pausing to question the moniker. Guess there aren't a lot of women standing around at Apple headquarters.
First reactions to Steve Jobs' new creation are hitting the interweb — it's been called "an iPhone for Yao Ming," (due to it's awkwardly large size — approx 9.7 inches by 7.5 inches) and the less-than-stellar name choice hasn't been lost on Internet commentators.
Billed as a new breed of device melding the smartphone and the traditional laptop, the iPad is bigger than the iPhone, but not as handy as my MacBook. For one, I simply can't see how you'd carry it around. It's far too large to be tossed in a bag like a smartphone or PDA, but still too vulnerable and exposed to lug around in a traditional computer case. Have mercy on that poor touchscreen; at least my laptop clams up.
It seems a bit too much like the iPod Touch, another device I've never understood the allure of. The iPad can't make calls, but it has all the audio, visual and Internet browsing capabilities of a laptop computer. But don't plan on storing your life on it like your laptop; it comes with at most 64 gigs.
It strikes me, mainly, as a glorified Kindle. And I'm sure the makers of the markets' various bookreaders are quivering in fear. Apple is launching a new iBook store (in partnership with several major publishers) in tandem with the device, and The New York Times has already partnered for exclusive content.
Sure, it's nifty, but I don't really understand the advantage.
Worst thing about it? It's all through AT&T. That alone ensures I won't be buying one.
When the character of Superman was invented in 1938, it was perhaps easier to see the world in good and bad terms. Fascism was already on the rise in Germany under Adolf Hitler, and the idea of an all-powerful superhero who stood up for people in need was a welcome one. In the nearly 90 years since, though, the world and the character have undergone multiple evolutions, and the thought of someone who is purely good is often met with cynicism or worse.
The new Superman, written and directed by James Gunn, puts the superhero (or metahuman, as the film calls him and similar creatures) squarely in the midst of the modern world, with geopolitical conflicts, mega-corporations, and social media all combining to make the altruism of Superman/Clark Kent (David Corenswet) questionable. That skepticism even extends to his coworker/girlfriend Lois Lane (Rachel Brosnahan), whose knowledge of his exploits puts her in a tricky position personally and professionally.
Lex Luthor (Nicholas Hoult) is out to dominate the world and take down Superman, with his eponymous corporation and vast group of underlings dedicated to doing both. Superman is generally a one-man fighting crew, but he’s occasionally aided by a group calling themselves the Justice Gang, comprised of heroes many have never heard of like Guy Gardner (Nathan Fillion), a version of Green Lantern; Hawkgirl (Isabela Merced), a flying metahuman; and Mr. Terrific (Edi Gathegi), who knows all kinds of technology.
One of the best things about this new version of Superman is that it mostly dispenses with introductions, putting the audience in a world where Superman is already a well-known quantity who’s adored by many and hated by some. Gunn has used his new position as co-CEO of DC Studios to honor the past of the hero and take him into the future. With the 1978 John Williams theme song echoing throughout and Corenswet giving off Christopher Reeve vibes, it’s clear Gunn wants audiences to feel nostalgia while still getting something new.
He also appears to want viewers to fight against the negativity that the modern world can bring. The plot involves manipulation of the public, usually at the hands of Luthor, through bombastic talk shows, political theater, and social media, the latter of which — in a great joke — comes to involve hundreds of typing monkeys. The film could be read as a rebuttal of many real-world ills as, despite Luthor’s machinations, many choose to continue to believe in the goodness of Superman.
There is a lot going on in the film, but somehow it never comes off as overly complicated. Superman’s relationship with Lois Lane and Luthor’s attempts at taking him down are given the most prominence, with everything else supporting those two main things. The Justice Gang is a fun addition, with Mr. Terrific becoming the breakout hero of the group. The addition of the (CGI) dog Krypto provides levity, poignant moments, and unexpectedly great action scenes. The only part that gets somewhat short shrift is the crew of The Daily Planet, with everyone besides Lois and Jimmy Olsen (Skyler Gisondo) getting little more than face time.
Being the new Superman is a lot to live up to, but Corenswet is completely up to the job. He, like Reeve, plays the character as someone who is earnest but not naive, a quality that comes through even when he’s in the middle of fight scenes. Brosnahan is also fantastic, providing a nice balance to the relationship while also proving the character’s own worth. Hoult makes for a great new version of Luthor, and Gathegi nearly makes the case that Mr. Terrific should get a starring film of his own.
Just as he did with the Guardians of the Galaxy trilogy, Gunn has shown that success can be found through making characters people want to see. Not everyone in this Superman will be familiar to viewers, but in the end a group of people working together toward a goal that serves the common good is one worth watching and cheering for.
