Playing catch-up.

* Al Giordano reports good news out of Virginia, where Obama has taken an unexpected lead. Flipping VA and NM to Obama and flipping IA to McCain (which admittedly looks unlikely at this point) is, incidentally, one of the many combinations resulting in a 269-269 tie, which would throw the election to the House and cause a legal clusterflunk of epic proportions. (As of right now, we'd win, but it would make 2000 look pretty.)

* Also in politics, people are taking notice of what I've been saying since the primaries: Claire McCaskill is a better surrogate for Obama than just about anybody in the business. Oh, and Obama gave McCain a much-needed bloody nose on the "fundamentals" line.

* The long-neglected art of Iron Man fan fiction has finally been perfected.

* Bad news for veggietopia: eating vegetables shrinks the brain.

* They've found the 20-ft. fence that used to keep the rabble away from Stonehenge.

* I don't trust anyone with a real job in the banking industry, but this shocked even me: Citibank was caught flat-out stealing $14 million from its customers.

* Congratulations, George Takei.

* The Church of England apologizes to Charles Darwin.

* The David Foster Wallace memorial thread I posted to MetaFilter went really well, I thought. So did MetaTalk. Here's something else for the collection—a DFW reading from UC-TV, via my editor at the Indy.



* And the Big Picture has stunning photographs of the 2008 Paralympic Games.

Superhero news!

* Smokers of the Marvel Universe.



* Dial B for Blog uses the recent gratuitous [SPOILER] of the Martian Manhunter in Grant Morrison's Final Crisis #1 as the launching point for a passionate rant about the current editorial direction of DC Comics.

Infinite Crisis was a bad story, but at least it was a story. Final Crisis is a marketing plan. There's the money quote, reader: "Final Crisis is a marketing plan."

In the view of Robby Reed, creator of this web site and author of this posting, "FINAL CRISIS" is VERY well-named, because for me it is a death-knell for DC. They have so little regard for either their own characters or those who buy the comics it is horrifying. I actually hope they go out of business, if they keep this up.

At any rate, before purchasing any new DC title in the future, I will inspect each page for evidence of the continuing pornographic destruction of my beloved childhood characters. If I find any, the book goes back on the shelf. Since EVERY book they publish is now like this, that means no more new DC comics for Robby. I will not miss them!

I'm still hoping to see Iron Man this weekend, but it looks as though Spencer Ackerman has already nailed all there is to say about it:

The second way Marvel subtly readjusted Iron Man for America's post-Vietnam sensibilities was to reveal that the reason Stark could control neither his company nor his relationships was that he couldn't control himself. Stark's booze-soaked, womanizing lifestyle was cleverly reinterpreted as rampant alcoholism and self-loathing. His drive to save the world was nothing more than a martyr complex born of a callow solipsism. It was a brilliant maneuver by the writers. Iron Man began to ask America: Would you trust such unfettered, unaccountable power to someone this messed up? The introduction of War Machine took the critique a step further, showing that the very act of donning the armor makes you messed up. Some exercises of power are too dangerous to be left in the hands of one man. The writers never turned Iron Man into a villain -- that would have been the easy way out. Instead they presented a fascinating character study, a compelling Cold War critique, a subtle plea for liberal internationalism, and a defense of a series of theses presented to the world in America's founding documents. It helps that Iron Man also blows stuff up.

Other recent updates to the Stark/Iron Man story have jettisoned the Cold War element but deepened the dynamic established in the 1970s. In Extremis, a reboot of the franchise during the current Bush era, Warren Ellis, one of the most talented comic-book writers currently working, has Stark unable to answer the question "What is the Iron Man armor for, Tony?" A left-wing filmmaker, dismissive of Stark's protestations that he's more than a weapons merchant, asks, "Do you think they have your painkilling drug pumps in Iraq? Do you think an Afghan kid with his arms blown off by a landmine is remotely impressed by an Iron Man suit?" Tony Stark is meant to be read as a tragic figure. He is one of the smartest men alive, yet he cannot think his way out of the traps his genius constructs for him. And so he blunders, again and again, into a hell of unintended consequences.