#it’s a pretty ordinary tv show that is just very into its 90s 'issues episodes'

[enzymedevice]

So I recently finished watching The Crow: Stairway to Heaven (1998), the 22-episode TV series based on the film The Crow (1994) and the comic of the same name. I’ve seen a few posts here and there about it being weird, but since even a lot of those have come from people who haven’t actually seen it who're going off hearsay, I haven’t seen any definitive list of the weird things that are in it. There are many weird things in it and here they are. Suffice to say there are spoilers in here so don’t read it if you live in a world where people could really actually care about spoilers for The Crow: Stairway to Heaven.

I’m going to assume that anyone who doesn’t follow me who’s interacting with this post has seen the film, but just in case (because I know 90% of my followers are here for Naruto), uh, musician Eric Draven is resurrected by a magical crow to exact bloody vengeance upon the people who murdered him and his fiancé Shelly Webster. Daryl Albrecht is the cop assigned to their murder case. Sarah Mohr is a young teenage girl who is also there, and her mother Darla is a drug addict who is romantically involved with one of the murderers. Murderers aside, I think that’s the reasonable dramatis personae.

The first episode is just a retelling of the 1994 film but with all the swear words and most of the gore taken out. Also Eric sings a song and it sucks. Those who watch this show will be hearing that song so very much.

The most important thing to know about this show right off the bat is that it is a police procedural and killing is wrong.

Eric roundhouses a guy for smoking a cigarette.

Good people get resurrected by crows; evil people get resurrected by cute albino pythons.

Eric cannot enter a room without dropping from the ceiling or jumping in the window. I love him but because he’s a cool martial arts guy he cannot use a door.

He also has a lot of casual conversations while exercising shirtless.

At one point he is lying on the floor and gets up to greet someone by doing a handstand.

At another point I’m pretty sure he snaps a man's fucking neck with his thighs? Not to death but like, to pain, certainly.

Dragula plays in episode 4. Episode 1 contains the song Powertrip by Monster Magnet, which isn’t particularly significant, but they’re my favourite band so I noticed.

Episode 5 is the circus episode. Pretty much every episode is a themed episode that most shows only get round to over the course of like 8 seasons? Episode 10 concerns daredevil car racing.

There's a part where the police are searching for Eric and a witness has described a man who's "Asian or Hispanic" and Albrecht's face lights up so quick like "Woah! I know an Asian or Hispanic man!" and that’s how he knows it’s Eric.

Sarah is a lead in this show and she and Eric kinda form the fun tag team for banter. She waves her hand in front of his face and looks at him funny when he’s having a traumatic flashback. Their dialogue is my favourite. Here are some examples:

SARAH: How many [pull-ups] did you do?

ERIC: I stopped counting at 200.

SARAH: That’s not normal.

SARAH: You need to get out more.

ERIC: But I don’t wanna get out more!

SARAH [ABOUT ERIC]: The man doesn’t eat. The man doesn’t sleep. He only sits around thinking about his dead girlfriend.

ERIC: I’m getting these weird feelings…

SARAH: I hate to break it to you, but all your feelings are weird.

Reincarnation is also a thing separately from the resurrection. Eric and Shelly have met each other in every single one of their previous lives, during which they have always been played by the same actors.

Several random characters are also shown to be able to commune with the dead, including a child who lives in a cage.

Eric talks someone down from a suicide.

Eric talks someone down from doing a revenge killing.

There’s a recurring character who’s a hacker called Nytmare.

Shelly becomes corporeal twice, once by possessing someone and once by angelic powers or something I’m not sure I didn’t listen. Oh yeah Shelly's also a lead in this show, waiting in the afterlife and sometimes being homoerotic with deceased women Eric chastely assists.

One episode features the Russian mob.

There’s a character called the Skull Cowboy. Now, the Skull Cowboy is in the original comic, but unlike the original comic he is regrettably not a skull nor demonstrably a cowboy, save for his cool jacket. He’s great though, shoutout to my man the Skull Cowboy.

Eric beats up a fire-eater with a fire extinguisher.

In one episode Eric's convinced he's gonna die so he puts on a white t-shirt and blue jeans. That’s mildly amusing because he’s a goth but I mostly bring it up because this was the episode I truly became aware of how sculpted his pecs are.

In episode 9, Eric is hypnotised by a man (recurring character) who believes John Lennon's consciousness is alive on the internet and he mentally regresses to one of his past lives, when he was an Indigenous American man. I have no further comment on this episode other than the fact that They Do A Mysterious Ritual and there are slurs.

Episode 20 establishes Eric as a Vietnamese orphan adopted during the war. That’s the secret brother episode (Eric's secret brother is played by Corey Feldman).

One further comment on episode 9, actually - Eric makes a gay joke in it which I can add to my Eric/Albrecht ship manifesto.

Eric opens a portal to hell.

From hell emerges a man with electricity superpowers who kidnaps a bunch of people.

Eric jumps off a high balcony and spins round and round to defeat the electricity guy.

He also does a front flip off some stairs while casually maintaining a conversation, as touched upon earlier.

There's a multi-episode courtroom drama storyline wherein Eric is on trial for Shelly's murder.

Oh yeah people just straight-up know he’s alive. He works as a bouncer in the bar his band used to play at. Darla works at the police station and attends Alcoholics Anonymous but then struggles with relapse as a whole storyline.

Albrecht gets a new partner whose struggles with PTSD are a whole storyline. Albrecht's also in the most complicated on-again off-again relationship with a District Attorney of all time. This one bullet point is him covered - he otherwise doesn’t have a lot going on aside from that one time he gets kidnapped and taken to an island and Eric has to save him in a comedically tiny boat.

Eric's murder trial is very funny to me: firstly, it’s a clip show, 12 episodes into the season. Secondly, a lot of the defence is resting on how the prosecution is discriminating against Eric for being a goth. A quotation from Eric's attorney: "He’s not on trial for being different, he’s on trial for murder!"

Eric's described as "different" a lot. He also describes himself as such when prompted, such as in this exchange:

WHOEVER SAID THIS LINE: Why do you look like that?

ERIC: Because I’m different.

Anyway the trial gets really boring but Eric has a cute ponytail and just looks soooo dapper in his little suit; I want to make him a nice sandwich for his packed lunch and pat him on the head as I send him on his way.

He’s pronounced guilty and then in the next episode immediately pronounced innocent. Spoilers.

There is a time loop episode during which Eric is forced to say the words "pretty please with sugar on top."

There is a plot to resurrect Rasputin. Rasputin's corpse is burned in a fire and his ghost appears superimposed upon the air.

Eric does a backflip towards the Rasputin corpse fire.

This is in hell. The guy resurrecting Rasputin needs to open specifically Eric's hell portal from the electricity superpowers episode.

In a completely different fire, Eric burns a valuable Russian manuscript which is entrusted to him.

Eric makes Albrecht hold some seaweed. I dunno, it made me laugh.

There is a secret organisation who have members in very significant positions in society and they have figured out how to separate a person's soul from their body and transplant it into a different body. One of them inspects Eric's abs for what felt to me like an extremely long time.

There’s a woman resurrected by a different crow and she cries black goo so I really hope Eric can cry black goo as well and that’s just a canonical thing about the undead.

In episode 18, the background music is diegetic but only for Eric, and it turns him evil.

Episode 18 prominently features Canadian rock band Econoline Crush, who perform two songs from their 1997 album The Devil You Know, including All That You Are, the song they sued Nickelback for ripping off to make the 2003 single Figured You Out. Eric is determined to win against them in the battle of the bands.

The rest of the series cameos a veritable smorgasbord of Canadian rock bands, but I didn’t recognise any of their songs by name and nobody says the names of the other bands out loud as many times as they said Econoline Crush so I guess they weren’t paid as much.

Female Crow - her name is Talon - has cool eye makeup that I like a lot. I don’t know what else to say about her that doesn’t sound misogynistic on my part, because the writers writing her are misogynistic.

There’s an episode where pretty much all Eric does is walk through the forest and hallucinate a dance sequence from one of his past lives.

The Crow in this series' continuity is Eric's alter, kind of. It has a separate soul, as evidenced by the fact that it remains in his body when his soul is put into the computer by the secret organisation's evil scientists who are pretending to be Shelly.

I guess I’ve been a bit rude referring to what it does as what Eric's doing this whole time but there’s no clear delineation between the two personality-wise and I could not tell you which moments are supposed to be the alter because I did not know it was a thing until episode 21 of 22, sorry.

Also the Crow makeup just manifests on Eric's face supernaturally. Sometimes it just turns round and has done a transformation sequence.

So the secret organisation kidnap the crow (the magical bird) and use its blood to do a ritual on Eric's grave and resurrect the Crow (the alter) in a separate body from Eric's so that it can fight him.

Eric is offered "steaming hot wieners." He nibbles one with care.

The Crow draws on a wall in blood, just like my favourite moment in the original comic (sadly not the Cat in the Hat though. That would have truly made this whole thing worth it).

A guy has transferred his consciousness into the body of his personal trainer, played by Michael Weatherly, who after 13 seasons of NCIS I didn’t enjoy looking at.

When the two bodies indirectly touch through Shelly's corporeal form, they merge into one in a golden fizzle of regeneration energy.

There's more after that but it ends on a cliffhanger.

[lorenfangor]

I heard that #40 was super homophobic :/ so I skipped it. But now your fic is making me want to give it a try. How problematic is it? Are the characters worth it?

Okay.

Okay.

Let’s talk about #40.

The plot of The Other (a Marco POV) is that Marco sees an Andalite on a video tape sent in to some Unsolved Mysteries-esque TV show, and he assumes it’s Ax and hauls ass to save him from being captured. Ax, being Ax, has videotaped the show, and they pull it up and Tobias uses his hawk eyes to figure out that it’s not Ax, it’s another Andalite - one without a tailblade. Ax is appalled at the presence of this vecol (an Andalite word for a disabled person) and we find out that he and others of his species have deep ingrained prejudices against at least some kinds of disabled people.

Despite this, Marco and Ax go looking for the Andalite in question because he’s been spotted by national TV, and they meet a second one, named Gafinilan-Estrif-Valad. The vecol is Mertil-Iscar-Elmand, a former fighter pilot with a reputation and Gafinilan’s coded-gay life partner. The two of them have been on Earth since book 1; they crashed their fighters on the planet and have been trapped there thanks to the GalaxyTree going down. Gafinilan has adopted a human cover, a physics professor, and they’ve been living in secret ever since.

Thanks to that tape, Mertil has been captured by Visser Three, and he’s not morph-capable so he can’t escape. Gafinilan wants to trade the leader of the “Andalite Bandits” to the Yeerks to get his boyfriend back; he can’t fight to free Mertil because he’s terminally ill with a genetic disorder that will eventually kill him, and (it’s implied that) the Yeerks aren’t interested in disabled hosts, even disabled Andalite ones. Despite Ax’s ableism, the Animorphs agree to work with Gafinilan and free Mertil, and they’re successful. Marco ends the book talking about how there are all kinds of prejudices you’ll have to face and boxes that people will put you in, and you can’t necessarily escape them even if they’re reductive and inaccurate, but you can still live your life with pride.

So now that I’ve explained the plot, I’m gonna come out the gate saying that I love this book. I love it wholeheartedly, I love Marco’s narration, I love Ax having to deal with Andalite society’s ableism, I love these characters, and as a disabled lesbian I don’t find these disabled gays to be inherently Bad Rep.

that’s of course just my opinion and it doesn’t overshadow other issues that people might have? but at the same time, I don’t like the seemingly-common narrative that this book is all bad all the time, and I want to offer up a different read.To that end, I’m going to go point by point through some of the criticisms and common complaints that I’ve seen across the fandom over the years.

“Mertil and Gafinilan were put on a bus after one appearance because they were gay!”

this is one I’m going to have to disagree with hardcore. I talked about this yesterday, but in Animorphs there are a lot of characters or ideas that only get introduced once or twice and then get written off or dropped - in order off the top of my head, #11 (the Amazon trip), #16 (Fenestre and his cannibalism), #17 (the oatmeal), #18 (the hint of Yeerks doing genetic experiments in the hospital basement), #24/#39/#42 (the Helmacrons’ ability to detect morphing tech), #25 (the Venber), #28 (experiments with limiting brain function through drugs), #34 (the Hork-Bajir homeworld being retaken, the Ixcila procedure), #36 (the Nartec), #41 (Jake’s Bad Future Dream), and #44 (the Aboriginal people Cassie meets in Australia) all feature things that either seem to exist just for the sake of having a particular trope explored Animorphs-style or to feature an idea for One Single Book.

This is a series that’s episodic and has a very limited overall story arc because of how children’s literature in the 90s was structured - these books are closer to The Saddle Club, Sweet Valley High, Animal Ark, or The Baby-Sitters’ Club than they are to Harry Potter or A Series of Unfortunate Events. Mertil and Gafinilan don’t get to be in more than one book because they’re not established in the main cast or the supporting cast, I don’t think that it’s solely got anything to do with their being gay.

“Gafinilan has AIDS, this is a book about AIDS, and that’s homophobic!”

Okay, this is… hard. First, yes, Gafinilan does have a terminal illness. Yes, Gafinilan is gay. No, Soola’s Disease is not AIDS.

I have two responses to this, and I’ll attack them in order of their occurrence in my thought. First, there’s coded AIDS diseases all over genre fiction, especially genre fiction from that era, because the AIDS epidemic made a massive impact on public life and fundamentally changed both how the public perceived illness and queerness and how queer people themselves experienced it. I was too young to live through it, but my dad’s college roommate was out, and my dad himself has a lot of friends who he just ceases to talk about if the conversation gets past 1986 or so - this was devastating and it got examined in art for more reasons than “gay people all have AIDS”, and I dislike the implication that the only reason it could ever appear was as a tired stereotype or a message that Being Queer Means Death. Gafinilan is kind, fond of flowers, and fond of children - he’s multifaceted, and he’s got a terminal illness. Those kinds of people really exist, and they aren’t Bad Rep.

Second off, Soola’s Disease? Really isn’t AIDS. It’s a congenital genetic illness that develops over time, cannot be transmitted, and does not carry a serious stigma the way AIDS did. Gafinilan also has access to a cure - he could become a nothlit and no longer be afflicted by it, even if it’s considered somewhat dishonorable to go nothlit to escape that way. That’s not AIDS, and in fact at no point in my read and rereads did I assume that his having a terminal illness was supposed to be a commentary on homosexuality until I found out that other people were assuming it.

“Mertil losing his tail means he’s lost his masculinity, and that’s bad because he’s gay! That’s homophobic!”

so this is another one I’ve gotta hardcore disagree with, because while Mertil is one of two Very Obviously Queer Characters, he’s not the only character who loses something fundamental about himself, or even loses access to sexual and/or romantic capability in ways he was familiar with.

Tobias and Arbron both get ripped out of their ordinary normal lives by going nothlit in bad situations, and while they both wind up finding fulfillment and freedom despite that, it’s still traumatic, even more for Arbron I’d say than for Tobias. And on a psychological level, none of the main cast is left unmarked or free of trauma or free of deep change thanks to the bad things that have happened to them - they’re no less fundamentally altered than Mertil, even if it’s mental rather than physical. And yes, tail loss is equated with castration or emasculation, but that doesn’t automatically mean Mertil suffering it is tied to his homosexuality and therefore the takeaway we’re intended to have is “Being gay is tragic and makes you less of a man”. This is a series where bad shit happens to everyone, and enduring losses that take away things central to one’s self-conception or identity or body is just part of the story.

Also, frankly? Plenty of IRL disabled people have to grapple with a loss of sexual function, and again, they’re not Bad Rep just because they’re messy.

“Andalite society is confusingly written in this book, and the disability aspects are clearly just a coverup for the gay stuff!”

Andalite society is canonically sexist, a bit exceptionalist and prejudiced in their own favor, and pretty contradictory and often challenged internally on its own norms. In essence, it’s a pretty ordinary society, and they’re really realistic as sci-fi races go. It makes sense from that perspective that Andalites would tolerate scarring or a lost stalk eye or a lost skull eye, but not tolerate serious injuries that significantly impact your perceived quality of life. Ableism is like that - it’s not one-size-fits-all. I look at Ax’s reactions and I see a lot of my own family and friends’ behaviors - this vibes with my understanding of prejudice, you know?

“Mertil and Gafinilan have a tragic ending, which means the story is saying that being gay dooms you to tragedy!”

Mertil and Gafinilan have the best possible ending that they could ask for? They are victims of the war, they are suffering because of the war, they get the same cocktail of trauma and damage that every other soldier gets. But unlike Jake and Tobias and Marco, unlike Elfangor, unlike Aximili? Their ending comes in peace, in their own home. Gafinilan isn’t dying alone, he’s got the love of his life with him. Mertil isn’t going to be as isolated anymore, he’s got Marco for a friend. Animorphs is a tragedy, it��s not a happy story, it’s not something that guarantees a beautiful sunshine-and-roses ending for everyone, and I love tragedy, and so I will fight for this story. Yes, it hurts. Yes, it deserved better. But it’s not less meaningful just because it’s sad. Nobody is entitled to anything in this book, and it’s just as true for these two as it is for anyone else.

“It’s not cool that the only canonically gay characters in this series don’t get to be happy and trauma-free and unblemished Good Rep!”

This is one I can kind of understand, and I’ll give some ground to it, because it is sucky. The only thing I’ll say is that I stand by my argument that nothing that happens to Mertil and Gafinilan is unusual compared to what happens to the rest of the cast, and that their ending is way happier than Rachel and Tobias’s, or Jake and Cassie’s. But it’s a legitimate point of frustration, and the one argument I’ll say I agree has validity.

(Though, I also want to point out that I think there are plenty of equally queercoded characters in the story who aren’t Mertil and Gafinilan - Tobias, Rachel, Cassie, and Marco all get at least one or two moments that signal to me that they’re potentially LGBT+, not to mention Mr. Tidwell and Illim in #29 and their long-term domestic partnership. There’s no reason to assume that the only queer people here are those two aliens when Marco’s descriptions of Jake exist.)

“Marco uses slurs and reduces Gafinilan’s whole identity to his illness!”

Technically, yes, this is true, except putting it that way strips the whole passage of its context. Marco is discussing the boxes society puts you into, the ones you don’t have a choice about facing or escaping. He’s talking about negative stereotypes and reductive generalizations, he’s referring to them as bad things that you get inflicted upon you by an outside world or by friends who don’t know the whole story or the real you. The slurs he uses are real slurs that get thrown at people still, and they’re not okay, and the point is that they’re not okay but assholes are going to call you by them anyway. He ends by saying “you just have to learn to live with it”, and since this is coming from a fifteen-year-old Latino kid who we know is picked on by bullies for all sorts of reasons and who faces racism and homophobia? He knows what he’s talking about. He’s bitter about what’s been said and done, he’s not stating it like it’s a good thing.

Yes, absolutely, this speech is a product of its time, but it’s a product of its time that speaks of defiance and says “We aren’t what we’re said to be,” and in the year this was published? That’s a good message.

tl;dr The Other is good, actually, and Mertil and Gafinilan are incredible characters who deserve all the love they could possibly get.

[outside-the-mailstrom]

GENERAL BACKGROUND

I've always been a fan of Marvel comics (or, Marvel Comics' properties, at least) I've fragmentary early memories of Batman The Animated Series, and some associated Batman and Superman comics (aimed at younger readers, in a 'Timmverse' style of the TV shows then airing - gorgeous, simple, iconic Art Deco inspired designs), but for the most part my early conception of superheroes came from what was called "Marvel Hour", a Saturday morning television timeslot ft. back-to-back episodes of cartoons from between the 60s and 90s, starring basically the big names you'd expect. I was quite wee, and don't rightly remember who did and didn't have their own show; obviously the big titles are easy enough for you to guess but I also feel (nebulously) that Iron Man, Hulk, Daredevil, and even the Silver Surfer had their own programs; the line-up jostled, there wasn't an Avengers or Defenders team-up show as there would be these days. There was always Spiderman, of course, and there were generally The X-Men.

X-Men The Animated Series, which was written and produced around the same era as Batman The Animated Series, does not (it has been noted) hold up near so well as its famed compatriot; it has its charms, and is a fascinating window into history, but it's not... strong on revisits. It's a little hard to say how much all this galvanized my interest in the subject matter, and how much it merely looks like it as an artefact of looking back through years of other things layering up (notably the early 00's onward movies, the X-Men Evolution tie-in cartoon [of which I was still, as a viewer, at quite a formative young age], a steadily developing interest in the concept of transition and transformation in all things, and ways that my own self-reinforcing creative projects drew from my standing experience of X-Men as a source material in ways that deepened my interest in, and sympathy for, it as a set of signifiers). Substantial engagement with actual X-Comics, however, comes later; primarily as a fan of the podcast Jay & Miles X-Plane The X-Men (which is pretty much as it sounds; a two-hander deep-dive through X-History & continuity, which settles early in its own run into a charisma and humour driven analytical recap of the major story arcs of the history of the franchise, starting at the Bronze Age [70s onward] and working forward practically issue by issue), aboard which bandwagon I found myself early in its days as a snowballing project (less than a dozen episodes as I recall? Certainly some time before it began to resemble a leading voice in intersectional leftist queer focal fandom, although it was always stridently those things, as well as advocating for a pro-soap opera, pro-minor characters, pro-Cyclops revision to popular understanding of what makes X-Men great).

Of course, if you sit two X-Fans down to talk comics for an hour a week for any length of time, really, under no x-ternal supervision or hard guideline parameters for what subjects are, and are not, on topic (amongst many other things more broad ranging and personal) they're going to get to discussing contemporary releases as well as ancient history. So, at the same time as learning, by glitzy guided tour, the history of The Hellfire Club, how the Phoenix Force actually works, why Scott Summers is autistic and Kitty Pryde is queer, I also got the nod-here-reference-there back ally tour of the contemporary X-Line, as it was shaping up; the early days of the Brian Michael Bendis run, the stuff that came out of Schism and Battle Of The Atom.

Consequently this particular period has always seemed, to me, beguiling.

I spent a period intrigued by it (not least because it’s intriguing, and this is a creative, perhaps even visionary author with strong, distinctive, and original ideas for stories that could be done with this premise and set of characters, and [by the accounts that I was receiving] was executing said ideas, if not flawlessly, at least with panaché). The podcast soon became somewhat of a bonding point between myself and my sister, who (being close in age to me) has always been very immediate in my life, but in such a way as can mean a lot of treading on one another's toes (less risk of that now). Like me she was a long time X-Fan, like me mostly from growing up on related media and finding them abstractly cool (we both had tween crushes on Evolution Nightcrawler - I remember printing out pictures of him from the school library, she now has a tattoo). My sister's completionist tendencies led her to track alongside the podcast, reading originally trade paperbacks and eventually Marvel Unlimited (with a cursory reading of revisionist takes on the Silver Age [60s] - X-Men Season One by Dennis Hopeless and Jamie Mckelvie, then hard-in with the real Bronze Age [70s onward], starting at All New Giant Size X-Men #1, and just working forward). I don't know quite where she's up to now.

I gave this a go, I certainly appreciated things about it, but in general it didn't grab me as my starting point - and while there are many other jumping on points between 1975 and 2013 (already three years in the rear-view by the time I decided to get around to this) the more-or-less present day just seemed the more-or-less obvious point to jump on, so I jumped.

Actually I read the first volume of G. Willow Wilson's Ms. Marvel, up to the 2015/2016 Secret Wars event, then I backed up and read Bendis' entire runs on Uncanny and All New X-Men (which notably, themselves, conclude at the start of Secret Wars), I also read, to my knowledge, all accompanying X-Titles coming out concurrently with the Bendis run, comprising what I'll generally refer to as the wider Bendis Era; Storm by Greg Pak, Cyclops by Greg Rucka, Magneto by Cullen Bunn, X-Force by Si Spurrier (all of which were really quite good, to my mind), and All New X-Factor by Peter David (which wasn't really for me - by which I seem to imply that it's probably for someone... in practice I think perhaps it is simply not really that good). I then read all of the X-Related crossover material that tied in to the aforementioned Secret Wars event (as well as a few non-X-related Secret Wars titles on general recommendation from Jay & Miles' Patreon stretch-goal video reviews of contemporary [primarily X] comic publications). My general process was to read an issue or two at a time then cross-reference with video reviews, as a lot of my engagement with media involves parsing it through the lens of critical voices who represent known quantities relative to my tastes (although it would be erroneous to suggest that by this point I'm not in some way attached to somewhat of a cult of personality around the public personas of the hosts, albeit what seems quite a calm and good natured one).

After finishing the Secret Wars titles I faced a relaunch of the line, and, eager as I was to find out what this experience (and the itemized content within) was like, I'd been a diehard Bendis fan through the process so far and wanted to let my recent reading mellow somewhat; to ruminate, and take a beat to work on other projects - breathe, mourn, let my first formative era of fandom settle before steam-rolling on with a new age.

It’s been… a few years, and while I really do have plenty else I ought be on with I've decided to throw myself back in and read some damn X-Men.

As follows are broadly my thoughts on what I will, somewhat snarkily be calling the 'Ordinary Era' (that is, post Secret Wars, through to the end of Jeff Lemire's Extraordinary X-Men, concluding with the Inhumans vs X-Men event), and beyond.