I’ve got a song stuck in my head again and I can’t kick it out. It’s been with me since last night when I was buying stuff at Pavillions. The only way to get rid of the constant replay in your head is to listen to the track over and over on your iPhone until you can’t stand it any more. And yet I love this track and Los Lobos in general. Fucking great guitar.

The trailer for Alex Kurtzman‘s People Like Us (DreamWorks, 6.29) suggests a James L. Brooks-like relationship drama about romance, values, happenstance. But what sticks is the sound of Elizabeth Banks‘ nasally voice in the intro. In the mid ’40s Howard Hawks told the struggling Lauren Bacall to lower her voice — to make it sound smokier and huskier. She did that and the rest is history. Banks needs similar guidance. Or she needs to de-nasalize, at least.

Tomorrow afternoon (Saturday, 3.31) in London, a reading of Orson Welles‘ script of Joseph Conrad‘s Heart of Darkness by actor Brian Cox (and presumably others) will be live-streamed starting at 5:30 pm. (9:30 am in Los Angeles, 12:30 pm in NYC.) The reading is being staged by artist Fiona Banner with the use of “a riverboat installation modelled on the Roi des Belges, the vessel Conrad captained on his journey up the Congo in 1890,” the Telegraph‘s Tim Robey reports.

Heart of Darkness is the project that RKO, which had signed Welles to a two-picture deal, declined to finance in late 1939 or early ’40. The Wiki page says Welles “planned to film the action with a subjective camera (a technique later used in the Robert Montgomery film Lady in the Lake). But when a budget was drawn up, RKO’s enthusiasm cooled because it was greater than the previously agreed limit.” This and another RKO turn-down (a film called The Smiler With the Knife that would have starred Lucille Ball) prompted Welles to move on to Citizen Kane.

In tomorrow’s performance Cox will play — as Welles intended 72 years ago — both Marlow, the narrator-protagonist, and Captain Kurtz, the corrupt ivory trader who was transformed into Colonel Kurtz in Francis Coppola‘s Apocalypse Now.

As anti-Obama hitjobs go, this one is fairly clever. Then again, what’s so heinous about stating an obvious fact? If and when Obama is re-elected next November he will have more flexibility. He’ll have more freedom to do and say whatever the hell he wants. What do righties think he meant when he said this to Dimitry Medvedev? “Don’t worry, bro…after I’m elected I’ll capitulate all over the place and you guys can do anything you want”?

The newly revealed Man of Steel logo (which looks like something mounted on the wall of an executive conference room) emphasizes the somber, downish tonalities first revealed in that August 2011 shot of Henry Cavill in his blue-gray Superman suit with the rose-colored cape and the knife pleats. But what about the decision by Man of Steel director Zack Snyder and producer Chris Nolan to have Cavill run around with a hard-to-ignore wad in his pants — a bull-elephant package that would make any Chippendale’s dancer envious?

I don’t know how “big” all the other Supermans were (and I don’t want to know) but over the last sixty-odd years — from George Reeves to Chris Reeve to Brandon Routh — Superman has always worn a disciplined jockstrap that suppressed any hint of exceptional heft or tumescence. But that modest aesthetic is now out the window, I’d say, based on these photos.

A decision has clearly been made to accentuate (or at the very least not hide) the fact that Cavill is well-endowed. That or he happened to be in a state of arousal when his shot was taken.

Man of Steel (Warner Bros., 6.14.13) costars Amy Adams as Lois Lane, Russell Crowe as Jor-El, Kevin Costner as Superman’s adoptive father and Laurence Fishburne as Daily Planet editor Perry White (“And don’t call me chief!”).

I for one feel Superman’ed out. Superman is yesterday’s superhero. Too innocent and upstanding and true-blue for our times. Introduced in the 1930s, ascended big-time with the TV series in the early ’50s, re-ascended with the Salkind-Lester films in the late ’70s and early ’80s, brought back yet again with the Bryan Singer version of 2006. It’s over. No steam left. Move on.