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Super Inspirational

In Local News on July 22, 2025 at 7:39 am

Deer In Headlines II

By Gery Deer

(Editor’s note: This piece was originally published in print and online on Friday, July 11, the release date for Supeman.)

This week brings the latest film portrayal of one of pop culture’s most enduring icons: Superman. When the character first appeared in 1938, the world teetered on the edge of war. Hitler’s rise threatened Europe, and anxiety loomed large across America. In that uncertain moment, the country needed a hero—if not in real life, then at least in imagination.

Writers Jerry Siegel and Joe Shuster delivered just that: a strange visitor from another planet, with powers and abilities far beyond those of mortal men. As the decades unfolded, it became clear that Superman’s true strength wasn’t found in feats of physical might. His greatest power was empathy—the ability to witness suffering and respond not with fury, but with compassion.

Even with unmatched power at his fingertips, Superman never acted to inflict fear or dominance. He led by example, embodying restraint, moral clarity, and unwavering courage—a reminder that heroism often begins not with force, but with heart.

“Superman” (2025) grossed $125 million in its opening weekend. Is this a sign that Americans need some hope?

Years ago, I wrote a “Deer In Headlines” column titled “Why the World Needs Superman.” The title was borrowed from a fictional article by Lois Lane in “Superman Returns.” In the film, Lane argues that Superman is not just relevant—but essential. Not because he’s perfect, but because of what he represents. Sometimes, hope isn’t found in the heroes themselves, but in the idea behind them—the symbols. I think we need those kinds of symbols again, maybe now more than ever.

From the disorienting echoes of artificial intelligence to the chaos of political extremism, the world feels more uncertain than it has in decades. We’re surrounded by noise, division, and anxiety. And while I know a comic book character can’t save us, the image of someone striving to do good—someone using their gifts to lift others—can still inspire. I believe that it’s not the cape that gives us courage. It’s the quiet decency of the person underneath.

If you’ve read previous editions of this column, you already know that my childhood wasn’t easy. I was born with a set of birth defects that made me feel like an outsider from the start. People saw me as “different,” weak, and sickly. That perception became a heavy burden. There were many things about myself I kept hidden—not out of shame, but from a fear of how others might treat me if they knew.

That sense of quiet isolation led me to feel a strong connection with the character of Superman—but more specifically, with his alter ego, Clark Kent. Like Clark, I grew up on a farm and carried burdens I couldn’t explain to my peers. He could blend in, unnoticed, among the crowds of Metropolis. I tried to do the same in my small corner of the world. Clark Kent was the mask that allowed Superman to experience life quietly, without ridicule. For me, it took a bit more than a pair of glasses. My disguise was silence, and I often looked to the stories of Superman for inspiration.

Becoming a writer helped exercise that isolation—the ability to give voice to what I once kept hidden. Through much of my work, I’ve been able to share parts of myself in the hope that my words might resonate with those of you carrying invisible burdens of your own. But Superman’s relevance goes well beyond the troubled emotions of a young boy.

Critics say he’s outdated, too perfect. But Superman’s enduring relevance lies not in his superpowers, but in his unselfish, unyielding commitment to do good. In a world rife with cynicism, Superman chose to blend in and understand us, to be one of us, to experience the best and worst of us. There’s humility in that—something we need more of today.

From comic panels to movie screens, Superman has become a global, unifying symbol of justice and truth. He is an immigrant – an alien – who came to our planet and our country to help us be better people. The continued stories of his heroics remind us that true strength lies in choosing compassion and service over vengeance and force. That said, I think America needs Superman now more than ever before. Up, up, and away.

Drive-In Movie Memories

In Entertainment, Movies, Opinion, sociology, Theatre, Uncategorized on March 24, 2024 at 10:13 pm

Deer In Headlines II

By Gery Deer

One warm summer evening when I was about 20, I wheeled my 1971 Mustang through the neon-washed gates of the Belmont Auto Drive-In Theater just outside Beavercreek, Ohio. I found the ideal spot and parked. The massive screen filled my windshield.

A few minutes later, an announcement over the speakers says, “Fifteen minutes! Fifteen minutes to show time!” Perfect! I had just enough time to grab a hot dog – I counted what cash remained in my wallet. It didn’t matter, though. They had me at “fresh, hot, buttery popcorn!”

That night, the marquee read, “Double Feature” (Then again, it was always a double feature.) “Star Trek IV: The Voyage Home and Crocodile Dundee.” If memory serves, the price was $5 per car, and I was ready. Drive-ins had been converted to broadcast the movie sound over the radio. So, I outfitted my old Mustang with a stereo amplifier and mounted speakers so you could best hear them outside the car. I tuned in the frequency, adjusted the volume, hopped on the hood with my snacks, and settled in for a great evening’s entertainment under the stars.

I loved drive-ins and still do. There’s something about the atmosphere that is pure Americana. As I’m thinking about it now, I can almost hear the overdriven buzz of those heavy, window-hanging speakers, the dancing refreshments up on the screen at intermission. The drive-in was one of my first solo outings at 16 when I got my driver’s license.

My first memory of going to a drive-in was with my parents in 1974. I was about seven years old, and we went to the Skyborn Drive-In in Fairborn, Ohio, where the original “Benji” movie was showing. I was so enamored with them that, for a short time, I considered owning a drive-in theater, but not your usual run-of-the-mill version.

I had this wacky idea about a massive drive-in theatre and even made concept drawings of it. It featured an unusually large, high-resolution curved screen, Dolby stereo, wireless speakers, and a two-story concessions building with a restaurant on the second floor. It featured a video game arcade, a merchandise shop, supervised playrooms for the kids, a bar for the adults, and more. Plus, it was much larger and could hold more than 400 cars.

Of course, I never made it happen, but it was a cool dream. I’m afraid that in the summer of the late 80s, my concept was way ahead of the required technology. Besides that, even in those days, drive-ins started to disappear.

Most of the Dayton-area drive-in theaters I visited back then are long since gone. If you’re local, you might remember some of them. There was the North Xenia Drive-In, Southland 75, Valley Street Drive-In, Dayton West Drive-In, and many others.

In north Dayton, the Dixie Twin first lit its screens in the early 1950s, and its projectors are still running today. The Melody 49, just off I-70 near Trotwood, is alive and well and shows first-run flicks on two screens. You can find others with a quick Google search. Depending on the travel, you might need to make a night of it if you plan to go.

As many surviving drive-ins faced closer, a strange twist of fate intervened. The very disaster that shuttered businesses worldwide may have been the savior of the drive-ins, at least temporarily. The COVID-19 pandemic gave many drive-ins a surge in business. Families could watch a drive-in movie, maintain social distancing, and enjoy an evening out.

Sadly, box office numbers have slumped since the pandemic, and drive-ins are still trying to bring people back in the gates. People need to be reminded that nearly all drive-in theaters are privately owned small businesses. They’re not million-dollar multiplexes. Most are run as a labor of love with volunteer staff, and most take in barely enough revenue to keep the projector bulbs burning. 

For some, drive-ins are a long-held tradition. To others, they represent an era long past. But whatever the attraction, grab your lawn chairs, blankets, and portable radios (to keep from running down your car battery), and head to the closest drive-in. For now, I have to go. Tonight’s feature is about to start.

Recommended Documentaries about Drive-In Theatres:

Indie films offer originality and escapism

In Business, crafts, Entertainment, Media, Movies, Opinion, Uncategorized on March 25, 2017 at 8:08 am

Deer In Headlines
By Gery L. Deer

“The Movies are great medicine. Thank you Thomas Edison, for giving us the best years of our lives.” – The Statler Brothers

In 2010, I wrote one edition of Deer In Headlines that discussed how a good movie can transport you to a colorful land somewhere over the rainbow, show you what it means to have true grit or take you into the final frontier of space. At the movies, you can travel through time in a DeLorean, see pirate ships battle on the high seas or even visit a galaxy far, far away. But in the short time since my first, brief exploration on the subject of film, a lot has changed.

The first known film production ever recorded was a British piece called Roundhay Garden Scene, filmed in 1888 by inventor Louis Le Prince. When first introduced, people hardly took notice of motion pictures as they were more a science experiment in optics than an entertainment medium.

Shot at only 12 frames per second, on highly flammable celluloid plastic, that first grainy movie lasted a mere two seconds but pioneered what would become one of the most lucrative industries of the 20th Century and beyond. From silent features starring Douglas Fairbanks, to the first talkies, movies have a special place in the history of American culture.

Many lines from feature films have worked their way into our cultural dialect. Who can forget Sean Connery’s first delivery of, “Bond, James Bond,” or Roy Scheider’s astonished look as he calmly noted, “I think we’re gonna need a bigger boat.” What about Clark Gable’s straight-forward parting line to Scarlet O’Hara, “Frankly my dear, I don’t give a,” well, you know the rest of it.

Today, however, while I believe movies still offer a level of escapism, I don’t believe they’re as well done or memorable as in the past. There was a time when, whatever your taste, someone out there was making a movie just for you. For all of us there is that one, special movie or that single line of dialogue that we carry with us our whole lives, but it just doesn’t seem like the most recent generation of films have the same staying power.

One of the reasons, at least in my opinion, is Hollywood’s complete and total disregard for originality. Everything seems to be a reboot, either of a previously successful film franchise or television program. The best movie I’ve seen in a while was the “Lego Batman” animated film. It was entertaining, full of nostalgia, and just a fun movie. Oddly original too, despite its familiar characters and settings.

If you want originality today, you have to get away from the mainstream box office and explore the countless number of independent films being produced around the country. Distributed on a much smaller scale, indie films can offer the same escapism as the summer blockbusters, but usually with original stories told in a much more creative way.

Created by small production companies, and lacking the mind-blowing budgets afforded to mainstream movies, an indie film must be more solid at the story level, unable to depend on “whiz bang” special effects to keep audiences engaged. And they’re not really geared toward moviegoers with short attention spans. These films tend to be rich in storytelling and move more slowly.

Independently produced films are tough to find at your local multiplex, so you’ll have to scan local newspapers and event websites for listings. And if you’re a streamer, Netflix and Amazon Prime both have a great selection of indies, from romantic comedies to more dark features. You’ll have to read some reviews and get some background before choosing one because the titles are not always as descriptive as they could be.

So my advice is that if you want to see high quality movies with great storytelling and an emotional hook that really makes you feel and think, you’ll have to look outside Hollywood. Great, new films are still, and I was skeptical too. But indie films offer a great alternative to the unoriginal, one-dimensional movies now flooding the cinema. See you at the movies.

 

Gery L. Deer is an independent columnist and business writer. Deer In Headlines is distributed by GLD Enterprises Communications, Ltd. More atdeerinheadlines.com

Why I’m done with Star Wars.

In Entertainment, Holiday, Media, Movies, National News, Opinion, Uncategorized on December 28, 2015 at 9:58 am

 

Deer In Headlines

By Gery L. Deer

DIH LOGOIf you’re a die-hard Star Wars fan, you’re not going to like what you’re about to read and that’s OK with me. If you haven’t seen Star Wars, Episode VII: The Force Awakens, you should probably stop reading right now because I will be giving away some major spoilers, and, subsequently the main reasons I’m done with the franchise.

I’ve been a lifelong Star Wars fan and it was always a part of my personal pop culture, just as it was for millions of others. But, The Force Awakens was so tragically disappointing that it has ended my interest in any future Star Wars movies with director J.J. Abrams at the helm.

In 2009, Abrams did little to endear himself to fans of CBS Paramount’s Star Trek franchise when he tossed the half-century-long story canon established by Gene Roddenberry in favor of his “alternate universe.”

IMG_4731

Gery’s 1978 Millennium Falcon toy space ship with a couple of the action figures from the 90s. Gery sold off a great portion of a vast 1970s era collection in 2005.

But, for Star Wars, I was willing to give him a chance and hold my opinions until seeing the movie. Sadly, my worst fears were realized and I simply do not understand why any true Star Wars fan likes this film.

However overblown the hype and merchandising, this “new” story is little more than a mashed up repeat of the original trilogy into one movie. At its core, The Force Awakens is the story of a wannabe Lightsaber jockey seduced by the dark side who adopts a Vader-esque breath mask and sets out to hunt down former teacher, Luke Skywalker.

His evil cohorts have build a space station (that looks like a moon) and blow up some important planets before being destroyed by a spunky pilot and his adorable robot. Does any of this seem familiar yet?

But wait, there’s more! The worst part of the story is that the bad guy is the son of Han Solo and Princess Leia and isn’t much more than a whining, 20-something, Darth Vader fan boy with daddy issues. He doesn’t even need the mask, popping off regularly throughout the movie!

Near the end of the film, he confronts Solo on a bridge and kills him to prove to his master how “evil” he has become. And that’s just about when I nearly walked out on this film. Killing off a beloved, long-lived character should be purposeful and respectful. Abrams’ blatant “murder” of Han Solo was anything but either. The word that comes to mind to describe it is, pointless.

As a writer, it’s hard for me to accept that a character like Solo was written to have survived everything we saw in the first three films just to be murdered in a moment of gullibility.

Rumor has it that this was the only way actor Harrison Ford would agree to return to Star Wars. If that’s the case, then the character’s death should have had meaning. But it didn’t.

Sadly, some great performances by the new cast, including the female lead, are overshadowed by the retread story line. I’m well aware that more than $1 billion in box office returns – not to mention a flurry of media praise – do not support my conclusions. But it won’t be the first time good box office returns had no real relationship to the quality of a film.

Personally, I believe this film travesty is just a way for director Abrams to leverage his control over Star Wars. He simply punched the fans in the face to reinforce that this is now his property and it will go how he wants it, fans and good writing not withstanding. But, money talks so you’re likely stuck with him for a while.

As talented as he may be, J.J. Abrams will never be a George Lucas or Steven Spielberg. No amount of lens flare will make up for the fact that he simply doesn’t care about these stories, the characters, or, more importantly, the fans.

All we can do is hope no one lets Abrams anywhere near Indiana Jones. Now excuse me, I need to go put the rest of my Star Wars collection on eBay. May the Force be with you.

 

Gery L. Deer is an independent columnist and business writer. Deer In Headlines is distributed by GLD Enterprises Communications. More at gerydeer.com

 

 

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