I have nothing against the Superman franchise as such. I'm not uptight about "the American way" being abandoned. I don't really care that they've decided to make it "relevant" by giving Lois Lane an illegitimate son and hinting that Superman might be gay. I don't care about any of that.
I'm not sure that Lois's kid is an attempt to make the movie "relevant", so much as an indicator of -- well, I don't think it's really an indicator of anything at all. It's just there, really: Lois is now a single mom. If this indicates anything, it's that single moms are a pretty routine thing in society today. The film doesn't really dwell on this, except of course for the matter of the kid's parentage, but that's a different kettle of fish.
But if any of my readers has seen the movie, can you tell me where it's hinted that Superman might be gay? I didn't see this in the movie at all. Not once. The guy's completely in love with Lois, isn't he? Did I read something wrong? I can't fathom where this is coming from.
(On a somewhat tangential note, this morning's addition to Roger Ebert's ongoing series on The Great Movies is a silent epic made in 1914 called Cabiria. Here's a key portion of Ebert's article:
The sets for Griffith's "Intolerance" possibly grew so large after he saw "Cabiria," and DeMille was also fond of enormous sets. When a modern film like "Troy" creates a vast Greek city out of digital information, we aren't fooled. We may be impressed by the visual effect, but we aren't impressed by the achievement. Watching these silent films, we feel a kind of awe, because we see that the sets are really there, and really that size.
The same reality is true of some of the stunts in "Cabiria." There is a scene where a city's walls are besieged by warriors on ladders, and others in a wicker basket are raised high up at the end of a crane. The city defenders push the ladders off the walls, and use lances to overturn the basket. Yes, there are probably piles of straw down below to cushion the warriors as they land, but look how far they fall while they are still onscreen. The risks they are taking are chilling.
This is one thing about the Lord of the Rings films that I find so satisfying: pretty much alone of all the Big Digital Epics of late, those films look the most real to me. This has nothing much to do with SDB's post, but there it is.)
(Welcome to all of SDB's readers, and thanks to the one who pointed out a gramatical error of mine. The first graf has been edited for clarity.)