TheNorm's Top 5 Spider-Man "Things"

Spider-Man Stature in my room 🥰

    As I mentioned many times before, Spider-Man is my favorite superhero. As a character, he is one of the most relatable, identifiable, and lovable of a sea of so many others with similar qualities; he's the kind of hero we can all aspire to be in our own ways. Plus, he's always quick with a clever quip, which is always fun. 

    Over the years, I've enjoyed countless Spider-Man things in my life. Some great, some less so, and some were merely footnotes in my fandom, but were still important staples nonetheless. After watching and reviewing Spider-Man: Brand New Day, I decided to look over those same things, and offer up an official ranking. You may not have heard of some of the things I'm going to mention here, so I hope you find them interesting and charming in your own way. 

    This is TheNorm's Top 5 Spider-Man "Things"

#5

Spider-Man Battles Ignorance 

    In my early school days, my parents signed me up for the Sylvan Learning Systems: an after school tutoring program meant to help students with various learning differences. One of their processes was gamifying learning by providing tokens for excellent grades, which could then be exchanged for prizes. Amongst their catalog was this special issue Spider-Man comic, where Spidy, after taking a hit from the villain and gets a bad case of amnesia (how original), gets help from the kids at the Sylvan Learning Center to restore his memory and take on the bad guy again. 

    This was little more than a piece of promotional material for both Sylvan and Marvel Comics, but for an elementary school kid trying to grasp their unusual learning differences, it was pretty awesome at the time to see one of my heroes getting help from my peers (as it were). It was one of those lessons you don't realize until much later in life that it's okay to ask for help, and even the smartest and strongest of us can't handle everything on their own. It may be cheesy and a little silly, but then again, so is the idea of a guy getting bitten by a radio-active spider and becoming a superhero; it's okay to be a little silly. 

#4

The First Trailer for the First Sam Rami Spider-Man Movie

    Picture this: you're in high school, you're at the movies with your family, and you're watching the trailers for all the upcoming attractions. 

    One of them begins with an elaborate bank heist with a group of armed crooks stealing tons of cash and escaping to the roof for their getaway helicopter. They fly through the city congratulating themselves on a heist well done, when, suddenly, the helicopter stops dead in its track mid air, gets yanked backwards, and finds itself trapped in between two buildings...in a Spider web! 

    My high school self was beyond excited the moment I saw that giant web holding a group of criminals in place waiting for the authorities. I knew exactly what it meant, and I couldn't wait for what was to be, in my mind, the very first time I got to see one of my heroes on the big screen. 

    As you may have surmised, this particular trailer is less famous for being the introduction of Spider-Man's big screen debut, and more infamous for the buildings used to depict Spidy's presence. In the trailer, the bank robbers helicopter is depicted being webbed up in between the World Trade Center, and the trailer was released less than a few weeks (to my recollection) before the tragic events of 9/11. 

    I do apologize for this entry being a downer, and I assure you that is not my intention, but despite the unfortunate historical tragedies, this trailer is still a piece of fondly remembered media pertaining to Spider-Man. Sure, there would be many other promotional materials later on that were as important, but few if any of them were ever as memorable or impactful as that first trailer.

    If you would like to see it for yourself, you can find it right here. 

#3

The Live-Action Spider-Man Television Series from the 1970s

    While Spider-Man has enjoyed many media outings since his conception, the short lived TV series (running from 1977 to 1979) is one of my personal favorites. Although I didn't grow up watching it when it originally aired on TV, I enjoyed renting episodes of this show from my local video rental shop, Video Man. 

    Marvel Comics actually enjoyed a pretty successful time on television with their superhero properties in the 70s: in addition to our favorite web swinger, there was also the iconic Incredible Hulk series, the made-for-TV Captain America movie with Reb Brown, and a pilot for a Doctor Strange series that aired but never launched for various and equally hilarious reasons. 

    The Spider-Man TV show from the 70s is a charming piece of media that maintains a place in my heart, mostly for the costume. Something about those big round eyes makes this iteration of Spider-Man a little extra charming. In fact, this show contributed much of my appreciation and interest in the general 1970s aesthetics and styles, especially the coffee mugs (for some reason). 

    The show itself may be a bit goofy and has all of the expected trappings of a 70s TV show, but it has a charm and an enjoyable spirit that can't be matched. If you can find yourself an episode or two of this series, give it a shot. 

#2

Spider-Man: Brand New Day 

    Yes, the latest film from the MCU (Marvel Cinematic Universe), and the movie I reviewed most recently, has the second highest place on my list of Spider-Man things! While I will always have a a deep appreciation for the Sam Raimi films, and the less said about The Amazing Spider-Man films (minus Andrew Garfield's excellent performance) the better, this fourth entry of the Tom Holland run as Spider-Man is so well made, so emotionally resonating, and so true to Spider-Man's appeal, that it deserves all the praise it's been getting from everywhere. 

    I've already gone on about how much I love this film in my review, so I won't repeat myself here. And, in case you're wondering my ranking of the Tom Holland Spider-Man movies, they are as follows, in order from most favorite to least: 

Spider-Man: Brand New Day

Spider-Man: No Way Home 

Spider-Man: Homecoming

Spider-Man: Far From Home

    Apparently, the movie has already made well over a billion dollars at the box office, and it deserves every cent! If you haven't seen it yet, I encourage you to do so ASAP. I'm absolutely getting a copy of it when it comes out on 4K. 

#1

The Spider-Man Video Game (2018)

    I discussed this game here on this blog sometime ago. One of the most endearing qualities about the game was the writing. The story presents an older and more experienced Spider-Man, along with a few reinterpretations of his lore and supporting cast (my favorite being Mary-Jane, Spidy's long time girlfriend, is a bad-ass journalist in this story), all of which creates a compelling and emotionally resonating narrative. Every turn in the story feels worthy of your investment, and it all builds up to probably the most satisfying and powerful endings I've seen in any Spider-Man story. 

    The gameplay, design, and re-playability are all fantastic in their own right, but it's the storytelling that ultimately gives this piece of Spider-Man media its edge. It is, to date, my absolute favorite Spider-Man thing out there, and I look forward to what will come next in the video game world for Spidy. In case you're wondering, I'm only about half way through the second game, so no spoilers please. 😂

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

Spider-Man: Brand New Day - A Near Perfect Swing

 

    It should come as no surprise to any of my beautiful readers that I am, and always shall be, a huge fan of Spider-Man. Of all the superheroes who have stood the test of time, Spidy is probably the one who has stood the strongest, even through the worst of times, because he has always stood strong for us. Much like Superman over at DC Comics, Spider-Man is the embodiment of human strength and perseverance; a hero with human struggles and a desire to do and be better in this crazy sad world, and never gives up on anyone. He is, quite literally, willing to put his life on the line to help people, not only because he can, but because he wants to. Spider-Man is all of us, in his own way. 

    The latest cinematic offering of our friendly neighbor, Spider-Man: Brand New Day, may not be the absolute best Spider-Man movie ever made, but it is certainly earned its place in my top 5 best Spider-Man media (which I will determine and release in the future). This film succeeds in understanding what makes Spider-Man so relatable, exploring why he matters to the world, and delivering a story that solidifies it all in an entertaining and heartfelt presentation. Not to mention, a visual style with actual texture and personality; something that Marvel has been sadly lacking as of late, but we'll get to that in due time. 

    Taking place some time after the events of Spider-Man: No Way Home, Spidy has been living his life as best he can on his own: helping people, surviving solo life in the big city, and fighting his frustrations with his responsibilities, including avoiding his old friends and loved ones for their own protection. Things take a turn for the unusually dangerous when Spidy encounters a villain who can "possess" people at will, attempting to break into the headquarters of a private research and defense group called Damage Control, in search of something called V-Max. This couldn't have come at a worse time for Spidy, as he happens to be dealing with some serious personal issues, along with a sudden change in his biology, causing him headaches and occasional bursts of overpowered rage. Can Spider-Man work out these personal struggles before things get worse for everyone? 

    What makes me so drawn to this particular film is how masterfully it tackles an issue I have always been passionate about: the importance of mental and emotional health. While this isn't the first Spider-Man film to tackle this particular subject (that distinction remains with Sam Raimi's Spider-Man 2), and without going into too many details as to avoid spoilers (intentional or not), the film is a well crafted allegory for the dangerous effects that things like unresolved personal problems, and isolation can have on a persons personality and well being. It is an issue that, sadly, isn't taken as seriously as it desperately should be, and I will always call out and applaud works of art that put in the effort to raise awareness of it, and advocate for better mental health. 

    Relatable thematic elements aside, the film is also incredibly amazing in its own right! The writing is masterfully crafted and witty, the performances are spot-on, the action scenes are visceral and engaging without being needlessly flashy, and Destin Daniel Cretton's direction perfectly balances character development and narrative progression with the action. Not to mention the special effects, especially with the webbing, are probably the best-looking yet for a Spider-Man film. 

    Speaking of looks, the film also boasts a beautiful visual style that actually "looks" like a movie. Some of my beautiful readers may recall my occasional mentioning of digital cameras using what is called a LOG profile: a camera setting that allows the image to retain as much possible detail in the brightest and darkest parts of the image, allowing the user to present images where everything is visible at all times. The problem with this setting, as of late, is that not enough filmmakers are adjusting the color and exposure in such a way, that provides any sense of texture or personality; resulting in images that look bland, flat, and lacking any kind of depth. It's essentially the polar opposite of the Ganzfeld effect; because you're shown everything, you really see nothing! 

    But with cinematographer Brett Pawlak behind the lens, the images for Spider-Man: Brand New Day have actual personality that both harken back to the classic Spider-Man comics, and provide a sense of depth and texture, resulting in images that are fascinating to behold. What is it about these images that are so engaging? One word: shadows! Unlike most Marvel films, or any other digitally captured high-budget Hollywood product these days, Spider-Man: Brand New Day is less concerned with ensuring that every single detail is completely visible, and more interested in having a voice. I genuinely hope we see more Marvel movies in the future with this kind of commitment to its images. 

    Now that I have finished gushing about this wonderful film, it's time for me to mention a few nitpicks: some of the cameos featured in the early minutes of the film feel wasted; some of the best moments were given away in the trailers and thus weren't as impactful as they might have been; and parts of the editing may trigger uncomfortable reactions to some viewers (though, to be fair, those moments are very few and far in between, and are completely understandable). 

    Spider-Man: Brand New Day is the closest thing to a cinematic masterpiece with our friendly neighbor that we have had in a long time. While I wouldn't consider it my absolute favorite piece of Spider-Man media (again, the list is coming), it is officially ranked high on my personal list. It is a film with so much heart, so much creative goodness, and so much of what makes Spider-Man such a relatable character, that it almost feels overwhelming in the best possible way. Fans and non-fans alike will find something in this film that speaks to them, and it will feel as amazing as it is spectacular. 

    Swing your way to the nearest theater and catch this movie in your web! 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

Disclosure Day - Almost Doesn't Crash the Ship

Rent on Apple TV and Amazon Prime

    Steven Spielberg is to alien stories what peanut butter is to chocolate: you don't question how or why they go so well together; they just do. Granted, in this case, it likely has more to do with Spielberg's natural talent as a storyteller, but it's telling how it seems to feel extraordinary when aliens are involved. But, not even the greatest among us are immune to the occasional misstep in an otherwise perfect formula. Because when you've been making the mixture for long enough, it can be very noticeable when something is missing. 

    Spielberg's latest offering, Disclosure Day, is a film that has all of the pleasantly expected elements of what makes his movies so fascinating, and might have become a well-earned new feather in his cap, were it not for a few overused creative choices, along with an ending (which I will not spoil) that might have worked had they shaved off the last thirty seconds, at least. While the film retains the majority of its charm thanks to Spielberg's magic, it's becoming unfortunately obvious that the magic is fading. 

    The story follows a man named Daniel Kellner (Josh O'Connor), who has stolen some sensitive material from a secret organization he used to work for. Daniel is attempting to deliver the material to his friend, Hugo (Colman Domingo), who is putting into motion a plan to reveal secrets that have been kept hidden away for far too long. At the same time, a weather forecaster named Margret Fairchild (Emily Blunt), suddenly begins demonstrating unusual abilities, and finds herself drawn into the situation with Daniel and Hugo. All the while being relentlessly chased down by the secret organization, led by a cold and calculating man named Noah (Colin Firth), who is hellbent on stopping these strangers from doing something that, according to him, could upend the entire world as we know it. What knowledge to these people have that could be so dangerous if the rest of the world knew about it? I mean, yes, we all know it's aliens, but still! 😂

    As a whole, the film is as polished and well-crafted as you would expect from a Spielberg presentation: it has a charm that can't be easily matched or replicated, it features beautifully choreographed single-shot scenes with energetic performances to boot, and it plays with emotional concepts without feeling preachy or cheesy (well, to an extent, at least). 

    The MVP award goes straight to Emily Blunt, who delivers what may very well be her best performance yet! She delivers so much energy, so much commitment, and so many what-the-heck-just-happened moments throughout the film, that she practically carries the whole movie on her shoulders! If someone in the theater world wrote a one-woman play just for her, not only would I not be surprised; I would be first in line to go see it! 

    Unfortunately, all of these beautifully crafted elements are somewhat bogged down by a few creative choices, specifically with the cinematography, that continues to rub me the wrong way, and feel counterintuitive to the story presented. 

    The film was photographed by Janusz Kaminski, who has been Spielberg's cinematographer since 1993. While the man boasts an incredibly impressive resumé in both filmography and photographic style, it's becoming apparent just how one-note he really is. Nearly every single film photographed by Kaminski, even those not directed by Spielberg, all feature the same kind of lighting effects and camera tricks; giving the impression that he's less concerned with what style best suits the story, and more interested in flashing as many lights directly into the lens as possible. All of this, along with an overly-used undersaturated color palette, feels more distracting and doesn't serve the story as well as it should. Yes, it all looks pretty cool, but it doesn't feel like it belongs in this particular narrative. It's the same issue I had with the movie The Post, another Spielberg & Kaminski collaboration; a film about journalists in the 1970's uncovering secrets about the Vietnam war should not look like a glossy WW2 drama! 

    And then there's the ending, or at least the last thirty seconds! While I will keep my promise to not spoil anything, I will say that it feels like Spielberg baked a perfect chocolate cake, then successfully carried it to the top of a treacherous mountain, only for him to raise the cake over his head in victory, lose his grip, and drop the cake onto the dirty ground, completely killing the moment and robbing everyone of its deliciousness! It's not quite anti-climactic, but it certainly feels that way. 

    Disclosure Day is a film that does enough things right to warrant a curious watch, but fails at everything else to justify ever watching it again. While Emily Blunt deserves all the praise for her performance, and Spielberg's charm is still mostly intact, this experience was a greater disappointment than I could have possibly predicted. I am still glad I watched it, and I do appreciate many of its good qualities (especially its use of animal symbolism), but sadly, despite all the prestige behind it, the old magic is fading. Hopefully, it will be revived and passed on to another worthy creative, but until then, the old guards need to stop while they're ahead. 

    Watch only for Emily Blunt's powerful performance, and not much else. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

The Odyssey - Sound and Fury Signifying NOTHING

 

    Sir Christopher Nolan is becoming one of those filmmakers who is easier to admire than he is to enjoy. On the one hand, his devotion to absolute pragmatism (or at least as much as humanly possible) has yielded some of the most fascinating works of cinema in recent history; see Memento, Batman Begins, and Inception (Nolan's magnum opus) for prime examples of his best habits. But, on the other hand, that same devotion can sometimes cause his films to feel cold, lifeless, and lacking any kind of relatable resonance that might otherwise entice an audiences engagement; see Interstellar and Tenet for prime examples of his worst habits. Sure, his movies are visually stunning, feature fascinating practical effects (mostly), and demand tons of commitment from everyone involved, but if there isn't something there on even a basic emotional level to latch onto (a legitimate reason to care about what's happening on screen), then all of the pretty and admirable aspects of your movie are all for not! 

    Nolan's latest outing, The Odyssey, and adaptation of the epic poem by Homer about one soldiers efforts to return home from war, might very well be the perfect embodiment of everything wrong with Sir Christopher Nolan as a filmmaker. While on a technical level, the film is admirable and fascinating to examine, the narrative choices (or lack thereof) makes the whole event feel significantly less epic than it otherwise might have been. You had my curiosity Sir Nolan, but you lost my attention in less than five minutes! 

    Full disclosure here: as of writing this review I have not read the original text of Homer's The Odyssey, but I am aware of the content and its themes. So this will be a judgment of the movie strictly on its own merits, and nothing more! 

    What passes for a "story" follows a general in the Greek army named Odysseus (Matt Damon), one of the leaders and thinkers of the efforts to take over Troy. After said takeover, he and his men begin their journey back to Greece to reunite with their families, and, in Odysseus's case, retake his throne, which has been occupied by would-be suiters trying to entice Odysseus's wife and Queen of the land, Penelope (Anne Hathaway) in his absence. Along the way, Odysseus will find himself challenging the Gods of Olympus, along with facing many different unusual and unexpected challenges on his path. How far is Odysseus willing to go to find his way home, and does he even want to return after what he's done? 

    Apparently, Sir Christopher Nolan didn't care for things like emotional resonance, narrative nuance, or character development (you know, the very things that make a movie worth watching), because it never appears on screen! None of the characters have any depth or sympathetic attributes to them, and any potential for such nuances are quickly dashed away in favor of bland stoicism. Because no one on screen has any kind of real development, there's no reason to care about anyone or anything that's happening; the things they try to pass as potentially engaging come off as cold, bitter, and lacking any kind of texture to make any of it remotely relatable. 

    On the technical side, yes, it is incredibly impressive that they captured the entire film on the IMAX system, especially with the brand new technology they developed, allowing fully usable audio to be captured on set (IMAX cameras are typically too loud for such a feat), and the imagery of the film, despite being washed out in a dull color palette, does look impressive enough to showcase the capabilities and textures of the IMAX system. But if the movie you're making with it has no engaging story, no relatable characters, and no understanding of how to deliver either, then none of the pretty pictures made with this awesome camera system will mean anything! 

    Sir Christopher Nolan's interpretation of The Odyssey is a boring, depressing, and unfeeling slog of a film! It is nothing more than a demonstration of technical prowess masquerading as a narrative, completely devoid of every essential engaging element. Its accomplishments pertaining to the IMAX system is insufficient to forgive its inability to tell an engaging story. If you must watch a film adaptation of The Odyssey, track down and watch the TV mini series from 1997 with Armand Assante; at least that one has some personality!

    Don't bother with this one; go see anything else in theaters right now. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

Masters of the Universe (2026) - A Fun and Silly Mess

Streaming on Amazon Prime

    One thing about modern Hollywood that still bothers me is its abandonment of being comfortable with silliness. Rather than allow a particular project to simply be weird or unusual, producers (and some screenwriters) often demand that such properties be treated with irony and ridicule rather than allow the creators to let loose and have fun. In some cases, like Michael Bay's Transformers, they try to insert darker and more "grown up" themes and elements to make the silly thing appear more adult than it needs to be. 

    Masters of the Universe, a nostalgic property from the 1980s, is a grand example of something that needs to be silly to be properly enjoyed!

    For those who may not know or would like a quick refresher, Masters of the Universe was a cartoon show set in a fantastical world (Eternia), combining elements of fantasy, science fiction, adventure, and moral-driven storytelling of good vs. evil. Like many cartoon shows at the time, its primary purpose was to sell toys and merchandise. Still, like many other shows of the time, it managed to surpass its commercial intentions, and become a fun and engaging show with memorable characters, grand adventures, and occasionally clever stories that were more mature and nuanced than expected. It is also the source of that infamous internet meme featuring the song "What's Up" by 4 Non Blondes. 

    This IP was adapted into a feature film before in 1987, starring Dolph Lundgren as the hero (He-Man) and Frank Langella as the villain (Skeletor), and it may very well be his greatest and most enjoyable over-the-top performance of his career; other actors dream of hamming it up as much as he did!

    This brand new adaptation, courtesy of director Travis Knight, late of Bumblebee (the one good Transformers movie) and Paranorman (the greatest stop-motion film ever made, and not for the reason you think), is probably the closest we may ever get to a studio-produced product, that embraces as much of the inherent silliness from the source material as possible. While it is not a great film by any stretch of the imagination, and it is abundantly clear that it went through some challenging growing pains (as evidenced by the number of screenwriters attached), it is still a fun and enjoyable mess with just enough charm to forgive its flaws. Also, let's be real, it deserves bonus points for punching Jared Leto in the face, however symbolically! 

    The story follows Prince Adam/He-Man (Nicholas Galitzine) of the fantastical kingdom of Eternia, who has been living in hiding on Earth after the evil Skeletor (Jared Leto) stages a coup d'état and takes over the kingdom. Adam was sent away with Eternia's most powerful weapon, the Sword of Power, but lost it in transit to his temporary home. Adam spends the next fifteen years living his life, holding onto the memories of his true home, and searching for the sword so he may finally return to Eternia, and save his family. Soon enough, Adam finds the sword and gets swept away back to the desolate Eternia, and must now reconnect with his true inner strength to take down Skeletor, and reclaim his true home. 

    What makes this film so charming, at least to me, is how it does its best to be a story about the importance of fantastical ideas in a modern world that's dominated (at least perceptively) by overwhelming cynicism; as if having dreams and being empathetic are things to be scoffed at and discarded in reality. While I argue that this kind of message was done significantly better in last year's Superman movie, I appreciate the effort presented in this new iteration of another childhood classic. 

    Having said that, it must be said that the film is, regrettably, disjointed and a bit messy.

    The script feels like it went through a series of arguments between too many writers fighting over what story to tell. Every so often you can see where the movie went from being one kind of story to another, without any real connective tissue binding them together. While some effort was made to at least incorporate all of the different ideas the various writers had in mind, it doesn't make for an experience as compelling as it wants to be; the occasional bits of wit and inside jokes could only go so far to cover the makeshift patchwork. Not to mention the less-than-stellar dialogue choices that are, at times, a bit too on the nose for their own good. 

    On the bright side, the action scenes are pretty fun, everyone's performances are appropriately delivered, the VFX is top notch, and the production and costume designs are spectacularly true to the source material. Also, Idris Elba absolutely kills it as Duncan Man-At-Arms! 

    While this new movie adaptation of one of my beloved childhood properties isn't quite as polished as it should have been, and the themes of toxic masculinity and the power of empathy are always appreciated and worth exploring, it has enough charm and good will on its side to warrant a curious viewing. If nothing else, I would not mind it if director Travis Knight got to make more movies of other fondly remembered 80s cartoon shows; Thundercats anyone? 

    Good for a laugh and unironic positive affirmation of the things that made our childhood entertainment fun. Give it a shot. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

How Using a Typewriter Made Me a Better Writer (and How it Could Help You as Well)

 

    I have discussed many aspects of writing on this blog, mostly in terms of narrative structure and the like, but I haven't felt the need to discuss the actual mechanism options for the actual act of writing itself. Mostly because, before becoming good friends with my mechanical companion, I hadn't given much thought about how different devices can impact your ability and mindfulness. Since distractions of any kind have always been a writers worst enemy, the digital age has introduced many alternative writing devices to help writers focus on their craft and put out their works. Still, even as technology continues to advance (for better and for worse), there's something about the tactile feeling the typewriter offers that, as far as I can tell, can't be properly replicated in any digital space. 

    In becoming an author and screenwriter, I was initially attracted to the romantic novelty of the typewriter; there is a sense of prestige these mechanical wonders offer that is often associated (wrongfully I might add) with perfection. Feeling unable to attain that level of creativity, and certain that I would never actually use a typewriter for any of my projects, I sought a means of recreating the typewriter experience without actually purchasing one: I got an app for my iPad that replicated using a typewriter (which is more of a novelty than a productivity tool), I downloaded a program on my computer that plays typewriter sound effects when using the keyboard (which I stopped using), and I installed clicky-sounding-style switches in my mechanical keyboard (which I have since switched out for smoother linear switches). 

    Then, after exhausting as many options as possible (short of purchasing one of the many dedicated digital typewriter devices offered), it happened! I went on Etsy, found a shop in the Netherlands that repaired and sold classic typewriters, and placed an order for one; the exact same one you see in the photo above. 

    At first, it was merely a decoration; a symbol of my affirmation to become a dedicated writer (among other things). The few times I did use it for real, it was merely for getting the feel of it, typing out random and silly things for fun. The idea of using it for anything else hadn't crossed my mind, at least not at first. 

    Sometime later, I watched an amazing film titled California Typewriter: a documentary from 2016 about using typewriters in the digital age, directed by Doug Nichol (mostly known for directing a few music videos for Sting), the film featured interviews with people like Sam Shepard (notable playwright), and Tom Hanks (typewriter enthusiast and collector). Among the people interviewed, the one that spoke the most volumes to me was with musician and songwriter, John Mayer, who made the best argument for using a typewriter in the digital age, which became the turning point for me finally adopting the use of a typewriter full time (or as much as I could realistically afford). 

    In discussing his experience, John Mayer mentioned how challenging it can be to write any kind of creative work on a digital platform, because, aside from the typical distractions, they demand that you act as the creator and editor at the same time; distracting you from your creative goals. As an example, he cited some of his lyrics from one of his songs, The Age of Worry: "Close your eyes, clone yourself, and build your heart an armi." You will notice that I misspelled the word "army" and that was intentional. Because when you misspell a word on most digital platforms, you will see a little red line underneath it, prompting you to go back and fix it. While you're doing that, your mind suddenly loses track of where your creative flow was going, and, as stereotypical as it may sound of creative types, it is true that getting back into that same flow can be difficult. 

    So, Mr. Mayer decided that he would get himself a typewriter and try it out for his songwriting. He bought a brand new electric model from Brother, and he demonstrated how he would, as he described it, "be a creative wack job!" He would put his ideas and thoughts for songs onto the page with the typewriter, completely ignoring any typos or misspellings, partially because it didn't bother him, but mostly because the typewriter also didn't bother pointing them out; it couldn't! 

    By eliminating the very thing that demanded "perfection" while creating, Mr. Mayer managed to work out the rough basis for his songs. Furthermore, he now had a permanent and tangible reference of his creative works that was, as he also described it, "human compatible," as in not requiring a hard drive that you will inevitably stick into a drawer somewhere and never plug back into your computer again (yes, I have a drawer of hard drives myself). 

    This is when I finally realized and embraced the truth about typewriters: they are not instruments of perfection; they are tools for creative thought. By forcing you to push forward with your ideas regardless of grammar and/or spelling errors, you are reminded that what's most important in the moment is getting your idea on the page; editing and other such adjustments can and should wait! This, you may have surmised, became the notion that allowed me to improve as a writer, and become a full-time typewriter user and enthusiast. 

    Since adopting my mechanical friend, I have written and sent many letters to friends and loved ones, written piles of poems, scripts for short film projects, and, my proudest achievement so far, I've written the first draft of my very first two-act play. Also, I am currently writing the first draft of my next book on the typewriter. 

    Now, some of my beautiful readers may be saying, "but Norman, you wrote your first two books and all of your blog entries on the computer! Why would you suddenly go to the typewriter when you can clearly do what you need to do digitally?" And you would be right to ask such a question, for I have an answer! 

    Two words: tangible effort. 

    While writing some of my projects on the computer is more practical in some cases, there is a sense of pride from using a typewriter that cannot be matched. When you write on a computer, you're pressing a series of unseen digital commands that create representations of letters onto a screen, but when you write on a typewriter, you're instantly printing words onto a page. It's a night and day contrast that makes a world of difference in how it feels to write anything. 

    I do love my mechanical keyboard for my computer, and I do agree that not everything needs to be done in an analog way to yield better results, but when it comes to using the typewriter, I have yet to find something that matches the feeling that comes with seeing my thoughts spring to life on the page. So, if you're interested in writing of any kind, and you can't release your thoughts on any given digital platform, consider taking a step back and trying something different.

    These days, typewriters can be found just about anywhere; typically in good working condition. And if they're not, there are still places and people out there who know how to fix them. And, like anything else worth having in life, if you take good care of it, then it will take good care of you. 

    Ladies & gentlemen, I am TheNorm; thank you all for reading. 

THE REVOLUTION WILL BE TYPEWRITTEN

The Devil Wears Prada 2 - A Complete Waste of Everyones Time

 

Rent on Amazon Prime and Apple TV (or rather don't)

Released back in 2006, The Devil Wears Prada was a decently entertaining dramatic comedy with a serviceable message, top-notch performances, and enough visual flair to make for a fine experience. Based on the novel by Lauren Weisberger, inspired by her experience working as an assistant for Anna Wintour (the then editor-and-chief for Vogue magazine), it is a story of horrible bosses, the often unspoken price of ambition, and the importance of knowing what is actually valuable and beautiful in your life. It was also a fun showcase of what it must be like working in “high society” and the absurdities therein. Also, Stanley Tucci (I could watch that man read the phonebook on stage and be entertained!)

Now, a full blown twenty-years later, Hollywood has released a sequel, to which many of us have asked…why? It’s a rhetorical question, of course (we all know it’s only about the money and Hollywoods allergic reaction to anything not linked to a brand name or nostalgic property), but strictly speaking from a narrative perspective, there is no reason for this film to exist! Especially when it offers no real substantial growth for the characters, a story that only the wealthy elite would find engaging, and a visual presentation that somehow feels less glamorous than it probably should have. Not to mention the poor attempts at commentary about fashion and artistic integrity that are severely undercut by the narratives priorities. At the very least, Stanley Tucci makes a triumphant return and renders the whole thing tolerable (again, phonebook!)

Taking place two decades after the events of the first movie, the story follows Andy (Anne Hathaway) being fired from her long time career as a journalist, due to corporate greed and a delusional perceived lack of necessity for her profession. Coincidentally, at the same time, the publication she used to work for, Runway Magazine, is dealing with a publicity problem; apparently they were unaware that their products were being made in sweatshops. In an effort to restore the magazines reputation and, apparently, save their stake in the fashion world, they hire back Andy as their new Features Editor to write up some pieces to save face. This, in turn, reunites Andy with her old boss, Miranda (Meryl Streep), who is still the editor-and-chief of the magazine, and is still the stuck-up, snobby, condescending (word that rhymes with ‘stitch’) that Andy had to put up with when she was starting out in the world. Will their reunion bring about some unexpected developments, or will there be some unresolved bitterness that will add to the conflict? 

Aside from this kind of narrative only appealing to fashion magazine shareholders, there was a ripe opportunity to showcase and play with the twenty-year disconnect between Andy and Miranda. When they first “worked” together in the first film, Andy was a fresh graduate from college who was still trying to find her place in the world, putting up with a boss who embodied everything she disliked about the more prominent but ultimately toxic aspects of popular culture, but still managed to get a glimpse of the humanity within. It was both tragic and reaffirming for Andys convictions when she saw first hand how narcissistic and unappealing Miranda truly was; her efforts to appeal to Miranda’s humanity for friendship were met with apathetic betrayal, the kind that makes you understand and appreciate what really matters in the world. 

With all that in mind, this sequel could have delivered a brand new dynamic, wherein Andy now has more power to both teach her old boss a lesson in humanity, and maybe, just maybe, force the beast out of its cave to better see the error of its ways, which, in all honesty, would have made for a compelling story, especially in this modern upsetting world. Instead, none of that potential character play or growth is ever utilized, and we wind up stuck with a massive repeat of the same character arcs and story beats from the first film. In short, more of the same, and nothing new! 

Andy, as portrayed by Anne Hathaway, reverts to the same shy and validation-seeking girl she was when she first worked at the magazine, despite the fact that she has enjoyed a twenty-year long career as a traveling journalist! Even if she still believed there was something good within Miranda, and had some amount of respect and understanding for her, Andy ought to have grown a bit of a backbone and would be expected to approach returning to the Lions den (as it were) with a completely different mind set. Instead, the film expects, nay, demands that we pretend the last twenty years either didn’t mean anything or didn’t actually happen, as if modern societies short attention spans weren’t pandered to enough already! 

This might have been tolerable if the visuals were anything to write home about, but instead the film that’s all about glitz and glamor has a boring, washed out grey tone to the images that makes everything look (and feel) dull and lifeless. This has become a common complaint for modern cinematography, where the filmmakers try to retain as much usable information in the highlights and shadows, assuming that every single thing in the image must be visible at all times, resulting in images that have no sense of contrast or texture. This is why I no longer film anything in a LOG profile, and I desperately wish more filmmakers would do the same once in a while. 

The Devil Wears Prada 2 is just another scrap from the things-that-were-once-popular-and-made-money pile that Hollywood has been scraping off the bottom of the barrel and throwing in our faces! No one asked for this, no one needed this, and everyone involved could be doing so many other things better than this! While the performances and parts of the writing make the film tolerable, there is nothing else here worth your time. 

    Watch literally anything else! 

Ladies & gentlemen, I am TheNorm; thank you for reading.