Pictured are Monroe Hall, Virginia Hall, Campus Walk, Lee Hall, and Trinkle Hall.
The Mary Washington College Campus looked as beautiful as ever last week — it was only marred by the occasional sign bearing an embarrassing misprint. (They perplexingly refer to the misnomer “University of Mary Washington.”)
At first I hesitated to visit the campus during my stop in Fredericksburg, Virginia on my way to Washington, D.C. I asked my Alumbud if two men in their 40’s would look suspicious there, given the increased security on today’s college campuses. He told me to relax — people would assume we were two fathers scouting the school for their respective offspring. That made me feel really, really old.
Monroe Hall and The Fountain. When I went to school at MWC, that fountain was occasionally doused with either detergent or dye as a prank.
Virginia Hall. In the early 1990’s, this was a dorm exclusively for freshmen girls; I don’t know if that’s still the case today.
You can’t see it here, but beyond that hedge and beside Monroe is Campus Drive, curving down past the amphitheater to Sunken Road. The long hill is still entirely wooded, and is still arguably the prettiest part of campus.
Campus Walk and Lee Hall.
This is cute. I’m guessing it was a product of the recent remodeling? But which way to Winterfell? Metropolis? Which way is Caprica City? I have tickets for a Buccaneers game next week.
Here is where the College Bookstore used to be (beside the Campus Police Station in the lower part of Lee); I’m told now that it’s in a vastly larger space upstairs.
And The Underground has returned! It closed after my freshman year in 1990-91. I met a lot of good friends there, and I heard my first live blues at The Underground, too, performed by Saffire, The Uppity Blues Women. (I only just now learned that Saffire’s Ann Rabson sadly passed away in 2013.)
[Update: an alumna just told me that she can remember when The Underground was called “The Pub.”]
Campus Walk and Trinkle Hall. My Alumbud reminded of what seemed like a big issue back in the day — the students’ desire to have a 24-hour study hall. They successfully petitioned the college administration for it, and at some point toward the end of my college career, Trinkle began staying open all night. If that sounds incredibly nerdy, it was. But it was also a pretty big quality-of-life issue for the dorms. A lot of people needed a place to go to cram before finals, in order to keep the peace with a sleeping roommate.
The “computer pods” were also located here, downstairs, in a basementish-type space that was air-conditioned to the point where it felt freezing. You always had to bring a jacket or sweater to do your work there.
Looking south on Campus Walk, you can just barely make out the Bell Tower, a product of the campus remodeling. You used to be able to see Bushnell Hall, my freshman-year dormitory.
The bust of Dr. James L. Farmer, Jr. that the school erected opposite Trinkle Hall in 2001. He was one of the nation’s foremost leaders in the Civil Rights movement, founding the Congress on Racial Equality (CORE) and organizing the “Freedom Rides” to desegregate interstate bus travel. Dr. Farmer was my Civil Rights professor in 1992, and he was universally admired by his students.
Some weird old guy wandered into the photo here — sorry about that.
[THIS REVIEW CONTAINS MINOR, GENERAL SPOILERS.]
Wow. The script for “Batman vs. Superman: Dawn of Justice” (2016) was really bad.
I hate to begin a review with a statement so negative, but it’s true. I really think that I could have done better than this, and I know nothing about screenwriting. Hell, parts of the movie were actually MSTy-worthy. I just can’t believe that the gifted David S. Goyer had a hand in this.
Batman is flatly rendered and barely likable. Superman is capably played by Henry Cavill, but has little to say. Lex Luthor is portrayed as a cloying, verbose, flamboyant, attention-seeking manchild. He gets all the screen time in the world (and more dialogue than Superman, it seems), and he really come across as a whiny, rambling high school student playing at theologian, trying in vain to impress the girls. Luthor seems to want to ingratiate himself to every other character on screen. Strangely, this includes even those he is threatening or endeavoring to murder. He has weird vocal tics that quickly get on our nerves. “Mmm.” He makes repeated references to god, who he hates, and … this makes him hate the godlike Superman, via Freudian transference. Or something.
He consequently wants to kill Superman. He has kryptonite and demonstrably capable mercenaries at his disposal. But, for some reason, he wants to employ unreliable, convoluted plans to prompt Batman to do it. His plans to motivate Batman include harassing him with newspaper clippings and nasty notes, like a deranged stalker.
He also has a photograph of Wonder Woman that she would like to keep secret. She goes ahead and mentions it to an ostensibly drunken Bruce Wayne at a party anyway.
Oh! Luthor also knows the secret identities for both Superman and Batman, and has known for some time. We don’t find out how he knows, and he does far less to exploit this information than you would think. Couldn’t he easily (and quite legally) cause problems for both men simply by exposing them? Superman knows Batman’s identity too; I guess we can chalk that up to his x-ray vision? Batman is not in the know, and spends much of the movie trying to play catch-up, and is easily manipulated by Luthor. This is despite the fact that, in the comics, he is the world’s greatest detective.
There is bad dialogue, weird science, and bad science. There are murky, vague plot points and unsupported character motivations. Some things are just plain dumb — Metropolis and Gotham City stand within sight of each other, just across a bay. Either hero could easily intervene in the other’s city … but they apparently respect each other’s nearly adjacent turf, even though they don’t know or trust each other.
Even the premise is shaky — legions of people hate Superman because they blame him for the damage inflicted by Zod during the events of “Man of Steel” (2013). Couldn’t he just exonerate himself by simply telling the truth — that Zod attacked earth and he rose to defend it? I’m willing to bet most people would get that.
There are … dream sequences … and/or visions … and/or messages from the future? And … conversations with the dead? Or … not? You tell me.
Why does Superman need a winter jacket?
Why does he refer to his mother as “Martha?” Do any of us refer to our mothers by their first name?
I could go on, but you get the idea. I actually found my attention wandering during this movie.
All of this is a shame, because there are hints of brilliance hiding among the mediocrity. The movie is ambitious. It seems to want to say a lot about weighty themes such as power, unlimited power, its ability to corrupt, and the unintended consequences of unilateral action. There seem to be visual references to real world horrors like 9/11 and ISIS’ terrorism, which I found pretty bold. I’ve never been good with subtext. Were there allegories here that I missed, connected with U.S. foreign policy or the War on Terror?
I will say this — the film isn’t quite as bad as the critics are making it out to be. It isn’t all garbage, it’s just a below average superhero film. And it appears worse because it’s part of a genre characterized by a lot of really good films — Christopher Nolan’s Batman movies were groundbreaking, and most of the Marvel Cinematic Universe’s titles were quite good. So this ambitious misfire seems far worse in contrast. I myself would rate this movie a 5 out of 10 — even if I might be biased here by my lifelong love for these iconic characters.
I’ll tell you what — why don’t I go ahead and list this movie’s successes? There are a few things that I really liked, and this blog post is so negative it’s starting be a buzzkill.
Postscript: a note to those who might be new to comics — this movie cribs heavily from two famous comic book story arcs. The first is 1972’s “Must There Be A Superman?” and the second is 1986’s graphic novel, “The Dark Knight Returns.” I haven’t read the former, but let me assure you that the latter is incredibly good. It was written and illustrated by Frank Miller, and it was so damn good it actually transformed the medium, by changing how fans and the general public viewed comic books. It’s a masterpiece. The point I’m trying to make is this — please don’t judge the seminal comic series by its putative representation by this film.
Postscript II: has there really been a great live-action Superman movie since “Superman II” in 1980? It’s well known that the third and fourth installments in the 80’s franchise were abominable. I thought that “Superman Returns” (2006) and “Man of Steel” were both good, but they got mixed reviews from audiences and critics alike. Weird.