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Trendysomething in somo

Literary lead-on: David Sedaris wants what he can't have

Steven Devadanam
Apr 29, 2010 | 2:34 pm
  • Is David Sedaris blowing smoke or trying to pick up young writers?
  • Some people are seduced by NPR studs; not me though.
  • Was David taking a cue from Monica Lewinsky in his chosen atelier?

They say that my generation is one without heroes. I don't know who other people my age look up to: maybe Barack Obama, or Shakira, but probably just Ashton Kutcher and Snookie.

Personally, I always found inspiration in writer David Sedaris. In high school, I'd cut class to read his books on the upper level at Agora, sipping cheap Greek wine, coughing through packs of Lucky Strikes and taking careful mental notes.

I never wanted to emulate him. He hadn't graduated from college, had a history of drug addiction and crossed a line of self-satisfaction that I once tried so hard not to breach.

But in the spring of 2006, I jumped on the opportunity to see him in person at the Wortham Center. After his reading, I spent almost an hour rambling around the underground Theater District parking lot before reemerging to the Wortham lobby to find a still-standing book signing line. I'm not one to be easily star-struck, so I casually picked up one of the for-sale copies of Me Talk Pretty One Day and began reading a favorite chapter.

Before I knew it, the desk of books for sale had been packed up, the registers disappeared, and I had effectively shoplifted Sedaris' hit volume.

Already at a total loss as to where my car might be, I decided to wait out the confusion and attach myself to the end of the book signing line. Perhaps because I was very last in line, David seemed to pay special attention to me, asking if I'd attended the lecture alone, and then encouraged me to touch the lining of his sport coat.

"I got it today on sale at the Gap," he boasted, "but you'd never guess it."

When he asked what my plans were for that night (it was already well past 11 p.m.), his agent, the only other person in the lobby besides the two of us, interrupted with, "David, that's enough."

I never had an actual crush on Sedaris — he's much too old — but I was flattered.

Condom Man

Yesterday (and four years later), I made a night-of impulse buy of tickets to see Sedaris' engagement at Jones Hall. Remembering my parking lot panic, I hitched the light rail downtown, only to find myself escorted off the train within 10 minutes by a police raid checking tickets. I had, in fact, bought a ticket, but only a credit card receipt printed from the machine.

After the embarrassing dismissal from the rail car, I explained my innocence and got off the hook, yet was made tardy by the need to wait for the next train.

Arriving at Main Street Square, I bolted for the Theater District, which led to another close-call with a moving violation citation for jaywalking. Ultimately, it was an enjoyable performance, but I spent a fair amount of the time in my nosebleed seat wondering what I would say when it was my turn at the book signing. After describing the way he'd hit on me when I was just 20-years-old, friends and colleagues had convinced me that I needed to reignite his flirtations.

I knew I was in trouble earlier that evening when I found myself sitting naked in front my closet thinking, "What underwear would David want me to wear?"

I'm being facetious (although he holds covetable connections in publishing). Yet somehow, I had high expectations of linking the 2006 missed connection.

The post-reading book signing line was monumental. I had a nice position in the center, but when I tried to take a picture of the scene with my phone, I got a slap on the limp wrist from a security guard and was escorted to the back of the line as punishment.

"At least I'll have my one-on-one," I surmised to myself.

After a two and a half hour wait (and a marathon reading of The Daily Beast that drained my phone battery), I finally was face to face with the lit celebrity. (Of course, this was after I'd caught him giving me "the eyes" countless times.)

I can't recount our conversation word-for-word, but I'm sure I communicated some amount of charm since he said, "London needs more guys like you," with an uncanny twinkle. (He recently relocated from France to the UK capitol.) He then reached into his National Public Radio tote, retrieved a roll of Trojan condoms, and handed one to me.

I couldn't tell if this was an invitation or just a subtle way of saying, "You're so handsome, you have no other option than to be incredibly promiscuous!"

I began to walk away, feeling mildly violated, but mainly just confused. As I turned, he whispered in my direction, "Psst! Do you like my blazer?"

Had David remembered me and our touch-the-jacket "moment" from so many years ago? I had no way of knowing whether he was referencing our casual encounter or if he simply had a very small repertoire of lines for young fans. He then raised his hand to his forehead and saluted me.

No, "See you later," "Call me," or "I'm in Room 300 at the Lancaster." Just a salute. And really, I didn't want any more. He had proven himself as fairly unstable, and if there's going to be an unstable person in any relationship of mine — it's going to be me.

Back at the rail station, it took about 20 minutes to register that Metro was closed for the night. With my dead phone, I walked to Hearsay to have somebody call me a cab.

"Aren't you the guy ... who was the life of the party at your holiday office dinner?" the bartender asked as he closed shop.

I may not be an internationally renown self-referential writer, but it's nice to know that in select Houston circles, I have a reputation for fun times. I held my head high as I ducked into the minivan taxi waiting outside the bar. As Elgin faded into Westheimer, we passed the once-beloved Agora, and I thought of a naïve teenaged Steven, enraptured by a strange writer's words.

Almost instinctively, I raised my hand to my forehead, and with a crooked grin, saluted my former self.

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Movie Review

Supergirl fails to take flight in a movie weighed down by grief

Alex Bentley
Jun 26, 2026 | 3:15 pm
Milly Alcock in Supergirl
Photo courtesy of DC Studios and Warner Bros. Pictures
Milly Alcock in Supergirl.

Last year's Superman reboot brought a renewed sense of optimism for, if not the concept of the comic book movie, then at least the DC Comics universe. After more than a decade of DC films that felt mostly creatively bankrupt, the leadership of James Gunn gave the story a sense of fun. That included the brief introduction of Kara Zor-El, aka Supergirl, who’s now getting her own showcase in, naturally, Supergirl.

When we first met her in Superman, Supergirl was in rough shape, arriving at the Fortress of Solitude visibly inebriated. Nothing has changed at the beginning of this film, save for her aimlessly traveling around the universe with her rambunctious dog, Krypto. One of her random stops puts her in the same bar as Ruthye (Eve Ridley), who is looking for help tracking down Krem (Matthias Schoenaerts) and a group known as the Brigands after they brutally murdered her family.

Kara is initially loath to offer aid, but when Krem shoots a poison dart into Krypto while escaping, her motivation goes way up, especially since Krem holds the antidote. Kara, with Ruthye doggedly following her, uses every means available to her to find Krem, a journey that is hampered by galaxies having different colored suns than the one that gives her powers, the yellow sun.

Directed by Craig Gillespie and written by Ana Nogueira, the film is a big step back in the fun category, not least because Supergirl is deep in her feelings for much of the film. Her personal trauma, which is detailed in occasional flashbacks, gives a reason for her depression, but fails to land fully. The story seems to want everyone to be sad, as it includes a child trafficking ring and multiple instances of families being murdered.

Milly Alcock and Krypto in Supergirl Milly Alcock and Krypto in Supergirl.Photo courtesy of Warner Bros. Pictures

To try to counteract that downer material, the filmmakers give Supergirl many opportunities to show off her fighting skills. While still CGI-heavy, the action scenes contain enough of a semblance of reality that they feel exciting. Unfortunately, this is undercut by the inclusion of several slow-motion sequences, giving the impression that the filmmakers didn’t trust the actors to deliver the goods on a consistent basis.

Superman (David Corenswet) makes a handful of appearances in the film, and while his presence is welcome given how well the character came across in the previous movie, it also doesn’t allow Supergirl to become her own person. Almost everything she does is colored by either her cousin or her parents, and since her powers are identical to those of Superman, there is very little that makes her story unique aside from how she’s dealing with the fallout.

Alcock (House of the Dragon, Sirens) gives an appealing performance despite her character being drunk and/or moody most of the time. She definitely sells what Supergirl is going through, so if given a better story in a future film, she’s proven her capability. Schoenaerts makes for a pretty good villain, although he’s aided by a look that includes a face full of studs. Jason Momoa has a memorable supporting role as the bounty hunter Lobo, even if his character doesn’t add much to the story.

While not a full-on disaster, Supergirl does not continue the momentum that Superman started. With a story that’s more concerned with showing audiences death scenes than a hero saving people, the film doesn’t seem to understand the appeal of a character like Supergirl or how to make her someone audiences will return to over and over again.

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Supergirl is now playing in theaters.

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