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Christopher Reeve Tag

Horror movies derive most of their power and enjoyment (you sicko) from a combination of novelty and surprise.The novelty: how the filmmakers will have this particular bad guy stalk and kill the good guys. The surprise: OHMYGODLOOKOUTBEHINDYOUDREWBARRYMORE! Nevertheless, because horror movies are eternally popular, Hollywood remakes

Jeff Giles: Ladies and gentlemen, your new Superman.

Dw. Dunphy: He’s all dark and stuff.

Chris Holmes: Looks more like Bizarro to me.

Ted Asregadoo: It’s like the they combined the Captain America and Batman/The Dark Knight costumes.

Matt Springer: He’s not MY superman, Giles!

Seriously, not high expectations here. Goyer and Nolan have earned serious cred/kwan with me, but Zach Snyder is ewwww.

Jeff: Remember all the fanboy rage after your Sucker Punch editorial, Matt? You must feel pretty vindicated now.

Matt: I always feel vindicated. It’s how I survive on the Internet.

Scott Malchus: I’m with Matt. Chris Reeves is still my Superman.

Jack Feerick: Dude, what does that even mean? Should they dig up Reeve and stuff his corpse into the fucking suit?

I got word that Natasha Richardson had died Wednesday evening. But the Internet had killed her off Tuesday afternoon. And that bothers me.

Word came via an erroneous report on the Time Out New York website, which was retracted, though not before an onslaught of hits had crashed its server. I don’t blame the site for pursuing a lead that turned out to be false; if Natasha Richardson was a star anywhere, it was on the New York stage. But there’s something ghoulish about needing to be first with the “scoop,” when the scoop is a life-or-death matter—and whatever clarifying intentions the site had in posting the news, it could not but look as if it were angling to be out in front. The resulting misinformation led to a wave of aggravatingly dubious reports and falsehoods, perpetuated on online forums and the likes of Perez Hilton’s site and OK! magazine (which the diminished UPI used as an “informed” source), providing an infuriating underscore to Richardson’s actual demise a day later.

In the horse-and-buggy era, you read about someone’s mishap in the newspaper, got an update from the TV or radio news, then followed the saga day by day. Minute by minute is how we roll now. The old-media gatekeepers best-qualified to judge the so-called “public’s right to know” are too busy keeping the lights on to take greater care of the editorial content, while the bloggers just poop out whatever anonymous tidbit is in the air. I was just fine knowing what I needed to know about Christopher Reeve’s riding accident and subsequent paralysis in 1995, at the dawn of web time; and I’m satisfied to know that Steve Jobs is ailing and on medical leave without needing to know his exact condition, latest test results, and whatever else members of the business press are demanding. I’m under no illusion that he will personally repair my MacBook Pro when it breaks down.

For all the wrong, tabloid reasons, Richardson is a star now. Her tragic end secured her the cover of People magazine. I can hear America asking, “Who was Nastasha Richardson?” It’s a fair question. To the general public, she was two things: the wife (actress, right?) of Liam Neeson, a middle-of-the-pack celebrity enjoying a surprise hit movie to call his own (Taken, a title with a grimmer connotation now), and Liam Neeson’s wife (actress, right?) who died unexpectedly as a consequence of a skiing accident. That she was part of a dynastic clan of actors, or laid claim to greatness on Broadway, was fuzzier at best. If you had trouble placing her when you heard the news, I’m not patronizing you, from my aisle seat as a New York theater writer who saw her incandescent Tony-winning performance in Cabaret, her fine work in Closer (she found the biting humor the film version lost), and a formidable Blanche opposite John C. Reilly’s miscast Stanley in A Streetcar Named Desire (pictured). Outside of the Lindsay Lohan remake of The Parent Trap and a supporting role in Maid in Manhattan, successful but unmemorable, she never made waves in the deeper pools of film and TV.