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February 5, 2012

Tag: mom

January 27, 2012

ABSENTMINDEDNESS

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The man of the house finally took all the disabled umbrellas to the repairer’s. Next morning on his way to his office, when he got up to leave the street car, he absentmindedly laid hold of the umbrella belonging to a woman beside him, for he was in the habit of carrying one. The woman cried “Stop thief!” rescued her umbrella and covered the man with shame and confusion.

That same day, he stopped at the repairer’s, and received all eight of his umbrellas duly restored. As he entered a street car, with the unwrapped umbrellas tucked under his arm, he was horrified to behold glaring at him the lady of his morning adventure. Her voice came to him charged with a withering scorn:

“Huh! Had a good day, didn’t you!”


The absentminded inventor perfected a parachute device. He was taken up in a balloon to make a test of the apparatus. Arrived at a height of a thousand feet, he climbed over the edge of the basket, and dropped out. He had fallen two hundred yards when he remarked to himself, in a tone of deep regret:

“Dear me! I’ve gone and forgotten my umbrella.”


The professor, who was famous for the wool-gathering of his wits, returned home, and had his ring at the door answered by a new maid. The girl looked at him inquiringly:

“Um—ah—is Professor Johnson at home?” he asked, naming himself.

“No, sir,” the maid replied, “but he is expected any moment now.”

The professor turned away, the girl closed the door. Then the poor man sat down on the steps to wait for himself.


The clergyman, absorbed in thinking out a sermon, rounded a turn in the path and bumped into a cow. He swept off his hat with a flourish, exclaiming:

“I beg your pardon, madam.”

Then he observed his error, and was greatly chagrined. Soon, however, again engaged with thoughts of the sermon, he collided with a lady at another bend of the path.

“Get out of the way, you brute!” he said.


The most absent-minded of clergymen was a Methodist minister who served several churches each Sunday, riding from one to another on horseback. One Sunday morning he went to the stable while still meditating on his sermon and attempted to saddle the horse. After a long period of toil, he aroused to the fact that he had put the saddle on himself, and had spent a full half hour in vain efforts to climb on his own back.

January 24, 2012

Hilarious jokes-Fail

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King Jung Nam, the brother of North Korean leader Kim Jung Un, said that as a leader his younger brother will fail. When he heard this, Kim Jung Un was so upset at his older brother, he yelled, ‘I’m telling Kim Jung Mom.’

January 21, 2012

Spoil Everything Now

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How many times has this happened to you?  It’s the day after a big episode of television show X.  You’re standing around at the copy machine or water cooler with some co-workers.  “Did you see what happened on television show X last night?” you say to the group, knowing that most everyone in this circle watches and enjoys television show X.    “Yes!” exclaims a co-worker, “I couldn’t believe it when….”
“STOP!” yells another in the circle, seemingly in a state of panic.  “It’s on the DVR but I haven’t watched it yet.” 
The conversation grinds to a halt.  Everyone sighs and stares listlessly into the swirling galaxy of creamer in their coffees, or mechanically shuffles papers in silence to put in the copier.  “Nice weather we’re having,” someone offers.
How did this state of affairs come to exist?  How is it that those of us who simply watch television as television ended up deferring so quickly and definitively to the TV-tardy generation?   As TiVO and then more generic forms of DVR technology spread through the marketplace, why did the broadcast generation so eagerly accommodate those who prefer to watch their programs in weekend marathons of digitized fast-forwarding?  Why is it impolite to “spoil” a show by revealing plot information, and yet not impolite to force a larger group of people to clam up during a spontaneous discussion of said plot?
These are perplexing questions, to be sure.   At first this deference was perhaps simply techno-intimidation.  In its earliest days, TiVO marketing (and TiVO owners) enjoyed making the non-time-shifted feel as though they were slaves to the manipulative agenda of network puppeteers.  To watch broadcast television when it was actually broadcast was to admit you had nothing better to do, that you let television rule over your life rather than taking charge of the technology itself. 
As the years have passed, however, we can now see that this was an utterly ridiculous proposition.  Who is more enslaved by television: the person who tries to make it home in time for Modern Family, but if he misses it just does something else with his time; or the person who loads up a brace of Modern Family’s that have to be “cleared” from the DVR, maybe over Thanksgiving or after the spring finale?   For me, there is no sadder sight than an otherwise young and healthy individual hunched over a laptop watching something like The Jersey Shore, trying to “catch up” with a program that God intended us to watch by accident while channel-surfing from the comfort of the couch. 
I suppose this impulse can be defended in those who watch serial narratives, an audience that would be devastated to miss even a second of the complete storyline (unlike viewers of old who, if they missed an episode, caught up in the first five minutes of the next installment and simply carried on).  Like so much of what has gone wrong with contemporary television, we can blame much of this on Twin Peaks, the series that probably did more than any other to ensure that the college educated would feel an obligation to view every moment of every single program and somehow still think they were smarter than the cathode tractor-beam that had just transfixed them for upscale target practice. 
Many are happy that television is now often afforded the status of “art” in the same way as the cinema.  But I’m not so sure this has been a good development inasmuch as it has destroyed the pleasures of quotidian disposability that were so long a part of the medium (like being able to engage in casual day-after conversation about an episode without someone freaking out that you’re about to read Molly Bloom’s soliloquy aloud before they’ve had a chance to buy their copy of Ulysses). 
The “artification” of television has gone hand-in-hand, of course, with the industry’s amazing success in convincing otherwise intelligent people that they should buy multi-disc DVD/Blu-Ray copies of a television series in its totality.  Sure, Captain DVR has disrupted the imperious power of the network schedule—only to then get ensnared through appeals to art, quality, and archival depth so as to drop a few twenties on a deluxe boxed-set.   All the old NBC wanted was my time and eyeballs—but the new Comcast/NBC/Universal wants me to think I have a responsibility to own the complete run of Heroes, neatly filed away alongside hours and hours of other forgettable shows that in an ideal world would remain elusive and ephemeral.  Why anyone (other than a media teacher, of course) would go to the trouble of brushing off a box set of The Simpsons in order to watch a specific episode rather than simply allow Homer, et al. to pop up as a welcome surprise during unfocused leisure time is a true mystery.  It’s rather like keeping bottles of tap water in fancy bottles even though the faucet remains completely functional. 
Some might argue the box set is a good way to catch up with an important series one has missed—but even here, I would suggest it is enough to know that Series X will undoubtedly return, like a comet, and that arriving at that welcome rendez-vous in an unspecified future will make the eventual viewing of the series much more pleasurable than burning through it in an obligatory 22 hour marathon.  I can’t think of anything currently on TV, or indeed that has ever been on TV, that I would absolutely HAVE to see RIGHT NOW.     
This stockpiling of episodes—either on DVD or on the DVR– is especially nonsensical and even a bit depressing when it involves programs that were designed to be wholly disposable in the first place, shows like Storage Wars, Kendra, Hoarders, and House Hunters that work best as random encounters with sporadic time-killing.   Indeed, if you like a particular show in one of these formats, wouldn’t it be better to keep a few in the quiver?  That is, rather than systematically make sure that each and every episode has been accounted for in the DVR queue, wouldn’t it be more rewarding to allow for a few strays to escape as breeding stock so that they might unexpectedly return sometime in the future?  Incredibly, I actually encountered an episode of Seinfeld the other day that I had somehow never seen before.  It was a profound, moving, and even magical experience, akin to necromancy or time-travel, and a pleasure that the DVR’s mandatory efficiency in consumption makes increasingly rare. 
Many have bemoaned how cable (along with an armada of other technologies) has led to a balkanization of public culture and the centripetal hardening of “egocasting” as the new media sensibility.  This fragmentation is inevitable, no doubt, and I am certainly not nostalgic for the days of 3-Network pseudo-consensus broadcasting.  But, in a world where increasingly you only share film, television, and music choices with a very narrow cross-section of your demographic, how frustrating is it when one slothful DVR-owner can singlehandedly bring a discussion to a halt? 
Here’s a good rule of thumb in television: if you can’t be bothered to make the time to watch a show on the day it actually airs, if the idea of watching a particular show isn’t something you actually look forward to enough to plan your precious leisure time around it, then it probably isn’t all that important to you in the first place.   Television is so relentlessly of the present and moving ever onward into the future, why would anyone go back in time to resurrect an experience so demonstrably unimportant?    
That’s why I think those who still have affection for the flows and rhythms of broadcasting as broadcasting should quit being so deferent and polite in this conflict.  I’m tired of feeling like a public masturbator simply because I bothered to sit down and watch Revenge on the night it was actually airing.   If you feel the same, then take the vow to discuss whatever you want, whenever you want, and let the TV-tardy assume the responsibility of shunning human company until they feel “caught up” enough to contribute to the basic social cement of televisual “small talk.” After all, we never had a vote on which way this social convention was supposed to go. 

January 21, 2012

Diabolical Codyism

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REGRESSION crisis currently bedeviling the western democracies, a mass and now multi-generational stagnation in adolescence largely engineered and sustained by a culture industry that needs all of us to remain fixated on the products and fantasies we consumed when we were fourteen.  The promo art for Young Adult announces this crisis as its central theme: “Everyone grows old. Not everyone grows up.”
Before unpacking Young Adult, however, we must first revisit Juno.  Below, the semiotic square illustrates how the four main characters embody positions derived from the film’s structuring opposition of ADULT – CHILD. 
JUNO (2007)

Before proceeding with the individual characters, it should be noted that the “semiotic square” typically does not have a baby at its center.  I have added one, however, because it is the precious, precious baby that provides the bedrock of the Codyverse.  Indeed, one could argue that both Juno and Young Adult are primarily concerned with arriving at the appropriate answer for Question 3 above: “Who shall and shall not be granted proximity to the precious baby?” 
Juno herself, of course, assumes the “contrary” position at the top of the square, a wise-cracking teen who, though she seems mature beyond her years, must learn important lessons on the path to true adulthood.  As the only fully functional “adult” in the story, Vanessa (Jennifer Garner) will assume the Adult/Non-child position.  I will assign Paulie (Micheal Cerra) the “neutral” term at the bottom of the square as he is caught in a limbo between adulthood and childhood and is thus neither (as opposed to Juno’s more forceful transition from Child to Adult). But the crucial term here is on the right side of the square: Mark (Jason Bateman) in the position of Child–Not Adult.  While Juno is about “Juno,” obviously, its main ideological task is to punish Mark for his transgressive regression so that he might be expelled from the text and kept as far away as possible from the precious baby. 
Mark’s transgressions are these: 1). he still enjoys “punk rock” and “horror movies;” 2). he shares his expertise in these forms with a teenage girl; 3). he verbalizes his attraction to this same teenage girl, probably because she also likes punk rock and horror movies; 4). he bitches about how marriage forced him to renounce his ambitions to be a “rock star”; 5). he expresses a desire to live in a loft downtown; 6). he expresses some degree of hesitation over coming into proximity with the precious Juno-baby.   It’s very straightforward, really.  Mark is the regressed male who, unlike Steve Carrell in The 40 Year Old Virgin, does not have a hip and patient Catherine Keener to save him from wallowing in perpetual adolescence.  Juno ends “happily” to the extent that Mark is exposed as a creep and must leave the world of wholesome suburban reproduction. 
Now, let us move on to the even more diabolical case of  Young Adult:
YOUNG ADULT (2011)

In this case, we will put Mark (Patton Oswald) at the top of the square.  Taking a page from Planet Apatow, Cody uses the narrative shorthand of a superhero figurine collection to signify Matt’s regressed status.  And yet, Matt remains the only adult “conscience” in the film, consistently trying to talk Mavis (Charlize Theron) out of her ridiculous scheme to win back her old boyfriend, Buddy Slade (Patrick Wilson).  Buddy is for the most part a cipher, but as a seemingly committed husband and enthusiastic father, he fills out the necessary position of Adult–Non-Child.   
Now, you might think Cody was somewhat harsh with Mark in Juno for punishing him so excessively just for enjoying the rock ‘n’ roll music and finding a witty teenager attractive.  Thus the genius of Nipple Confusion.   By placing Buddy’s wife, Beth (Elizabeth Reaser), in a cover band made up entirely of new moms, Cody finds a more nuanced strategy for engaging question #2: “What is the proper relationship for a “normal adult” to have with popular culture?”  While Juno addresses this question in its most general form, Young Adult provides a much more focused analysis of the spectrum of regression by asking, “What is the appropriate relationship for a ‘normal adult’ to have with Teenage Bandwagon?”
Recall that during the opening sequence, we witness Mavis obsessively rewinding and re-listening to the first verse of Teenage Bandwagon’s song, “the Concept”–included on a now 17 year old mix-tape that Buddy made for Mavis when they were dating.  Mavis’ fixation on repeating a moment of pop epiphany (crucially, she only wants to listen to the first verse/chorus over and over again) suggests that her relationship with Teenage Bandwagon is profoundly regressed and thus wholly dysfunctional.  Mavis’ rewinding of the tape is offered, initially at least, as a playfully regressive memory for any audience member old enough to remember the courtship and technical protocols attending analog “mix-tapes”–but as the story proceeds, her fixation on “The Concept” retroactively becomes a sonic marker of Mavis having become “stuck” in the past.  She therefore has an “inappropriate” relationship with Teenage Fanclub.
As the drummer in Nipple Confusion, however, Buddy’s wife Beth demonstrates a healthy and non-regressed relationship to Teenage Bandwagon.  This is because Beth, unlike Mavis, enjoys Teenage Bandwagon within the context of successful marriage and reproduction.  Indeed, Nipple Confusion is “cool” precisely because they have the “proper” perspective on life by virtue of their marriages and collective motherhood.  Single and without children, Mavis foolishly regards “The Concept” as a powerful anthem of romantic affect and possibility; Beth has the higher knowledge that the song is simply a quaint curio of their generation’s heritage in ’90s indie-rock culture.  Thus Mavis’ profound horror when she discovers that Buddy has shared “their song” with obstacle-wife.
Which brings us to Mavis, who we see occupies the same position as Mark in Juno: CHILD–NOT ADULT.  And, also like Mark, the ideological work of Young Adult is to ensure that Mavis be kept as far away as possible from the precious, precious baby.  Taken together, the two films demonstrate just how profoundly invested the Codyverse is in maintaining rigorous moral parameters related to proper suburban breeding.
Young Adult, however, is a much more mean and nasty film.  Consider that in Juno Mark must leave in shame because he questions the centrality of breeding and parenthood in adult life.  This is a harsh judgment, perhaps, but at least Mark has some agency in his own fate.  He chooses to end his marriage and go live in a loft where he can spend more time listening to punk rock and watching horror movies.
Young Adult, on the other hand, makes the following division:

Successful Breeders                                                          “Crippled” Breeders
Buddy (functional penis and sperm)                             Matt (crooked penis)Beth (functional uterus and ovum)                                Mavis (had a miscarriage)
Thus, Matt and Mavis’ “regressions” are explained by a physical inability to assume the role of an adult breeder.  Unlike Mark, they are denied even the opportunity of questioning the breeder position–it is simply assumed that both desperately want a marriage and family (especially Mavis), but have “regressed” to a non-adult position as an effect of their reproductive failure.   Matt and Mavis are doomed because, in their cases at least, biology is destiny.  
I would submit this is a fairly loathsome position to take on these issues.
Okay, I’m done. 


January 21, 2012

Ten Best List

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I don’t typically compile a “ten best” list each year as I find the entire ritual a narcissistic and even imperious performance of one’s own taste.  This year, however, I decided to get off my high-horse and share the most outstanding films I saw this year.  After all, I am highly credentialed in film studies/analysis, so it would be criminal of me not to share that expertise with the lay public.  Be advised, however, many of these films will prove difficult to see, especially if you live in some God-forsaken, cultural backwater.

1. Seven Tangerines (Poston)
Reportedly shot for less than $50,000  without permits in an abandoned brownstone in Queens, Jack Poston’s Seven Tangerines succeeds less as a well-crafted work of cinema than as a raw document of extraordinary writing and acting.  As a play, Seven Tangerines never even made it to off-off-Broadway, Poston staging only six performances at a rented community center in Astoria before taking it before the camera.  For many productions, that would be a mistake.  But here there is a sense that Poston and co-star Jakov Lund, May-December junkies slowly freezing to death in a Bronx tenement, might have over-cooked their characters if they had waited any longer to capture them on film.  And the ending remains as haunting as it is enigmatic– do the two men, at the brink of unconsciousness, see the face of God, or is it merely the lights of a police helicopter?  Thankfully, Poston allows the viewer to make his or her own decision. 
 2. The Winter of the Mouse Friend (Fu)
On the surface, Su Jing Fu’s study of a girl’s dormitory during the Cultural Revolution may seem like a straightforward celebration of female bonding and empowerment.  When a small and very bedraggled mouse wanders into the dormitory during the first winter snowfall, the girls nurse it back to health and make it their communal pet, going to great lengths to hide their furry friend from their harsh housemother.  The charm of the premise gradually mutates into something more sinister, however, as Xiaobai (“Whitey”) becomes hostage to the various interpersonal struggles between the roommates.  Cantopop singer Denise Ho Wan-See is surprisingly good as the dorm’s primary villain, Bao-yu, manipulating her peers for chocolates and other favors by constantly threatening to reveal the mouse’s hidden den in the wall. 
3. Jacques et Jacqueline (Courbet)
Hopes were not high after comedian Ricard Courbet’s first feature, Les Idiots sur un Bateau (2009), a broad physical comedy set at a failing yacht rental yard in Nice.  And Courbet probably did himself no favors in the follow-up by playing both “Jacques” and “Jacqueline,” combative fraternal twins brought together by the Christmas and New Year’s holidays.   But Courbet surprised everyone by crafting a rather poignant character study amid all the requisite yucks, making Jacqueline in particular a stealthily tragic composite of poor life decisions.  And while the ending set-piece with the frozen baguettes and broken teeth was a bit crass, overall it didn’t derail this surprisingly complex portrait of sibling rivalry turned bittersweet affection.
4. Zero-Muybridge-One (Muybridge/Locklear)
Experimental cinema can often be unbearable, and on paper, Zero-Muybridge-One looks like it would be no exception. Digital artist Camden Locklear has digitized every single frame of Edward Muybridge’s foundational “motion studies” and then re-sequenced them according to a cryptograph derived from the texts of Walter Benjamin.  The effect is a haunting flow of sepia-toned light and shadow punctuated by furtive images that struggle to cohere on screen.  Horse and cat strobe toward one another from opposite sides of the frame.  A tumbler appears to somersault in and out of oblivion.  A nude man strides into the very maelstrom of modernity itself, chin held high as he enters the new century with what we can now see was a sadly misplaced sense of confidence.  Credit too must be given to Philip Glass’ architectural scoring that gently accents the emerging images even as it stolidly anchors the overall flows of amorphous light.
5. Yellowknife (Slidell)
Two painfully shy teenagers, he from Vancouver and she from Montreal, find themselves “exiled” together for a summer in the remote wilderness of Yellowknife.  While their fathers work together on a geological survey, Marcus and Claudette negotiate a relationship they know is both inevitable and doomed, brought together by their mutual distaste for life in the wilderness and yet knowing their time together will be over come September.  First love is an old story, of course, but director Felicity Slidell does an excellent job here undercutting the genre’s more maudlin elements by refracting them through the precocious sophistication of her leads.  There are a few missteps (the scene where the young and still awkward couple happen upon moose copulating in the woods flirts a little too heavily with the American Pie series), but overall a touching meditation on the millennial generation’s turn at “summer love.” 
6. El vano heredarán la tierra  (Urueta)
Transplanting William Thackeray’s Vanity Fair from Regency England to the slums of contemporary Mexico City is an audacious move, as is placing a 14 year-old male hustler in the role of Becky Sharp.  But Urueta’s satire of the links between social mobility and sociopathology shares Thackeray’s at times misanthropic eye for the often brutal violence underlying custom and convention.  And by removing the “Amelia” character entirely, some might even say Urueta has improved on Thackeray.
7. Tarantula (Emmerich)
Given his last three spectacularly interesting failures (10,000 B.C., (2008), 2012 (2009), and Anonymous (2011), many suspected that Roland Emmerich might just have one truly outstanding film in him struggling to get out.  Who could have known that Emmerich would finally strike gold in a remake, especially considering that his 1998 attempt to reboot Godzilla was such a giant reptilian turd?  And yet, in reimagining Jack Arnold’s 1955 classic of an irradiated spider on the rampage, Emmerich achieves an emotional depth wholly absent in his turn at the Godzilla franchise.  Wisely, Emmerich transforms Arnold’s creepy-crawly Other into a more sympathetic fellow citizen of earth, one that never asked to be trapped in a laboratory much less forced to ingest radioactive grain.  In a testament to the director’s subtly in making us identify with what is, after all, merely a CGI program, our attachment to the giant spider is really only apparent at the very end.  As “Tarantula” looks down with his 8 eyes, seemingly betrayed by his former scientist protector (played with surprising verve by Tara Reid), we hope for just a moment that the seemingly inevitable laser blast and explosion will not come.  But of course, as it must, it does.  So far Emmerich’s Tarantula has not found a U.S. distributor, but hopefully that will change in 2012. 
8. Reflections (Corday)
Very few people have had the opportunity to see the first feature film by avant-garde video artist Christian Corday, but fortunately I was invited to a screening last month for 25 or so people at the artist’s new loft/studio in DUMBO.  It is truly stunning, and I highly recommend you try to see it should it come to a theater near you (although that’s probably unlikely—given the film’s formal and thematic complexity, it is likely only to play in New York City and Los Angeles for the foreseeable future).  Corday begins with an odd but intriguing premise.  “A” and “B”, married artists in Chelsea, decide to cover every surface of their apartment/loft/studio with mirrors.  From there, they decide that all of their daily interactions—both in and out of the house—will be conducted through mirrors as well.  Gradually the inevitable happens.  Their identities become ungrounded and uncertain, eventually transferring between their two bodies.  From here the film engages a series of metaphysical dilemmas—what happens when “A’s” subjectivity is in “B’s” body, and vice versa?  Original, profound, and utterly unsettling—it’s a must see for anyone with an interest in film, philosophy, or both. 
9, The Royal Disease (Dankworth)
Excruciatingly detailed bio-pic of Prince Leopold, the Duke of Albany and fourth son of Queen Victoria.  Leopold lived a short and troubled life, his hemophilia keeping him under the watchful eye of his mother the Queen.  Dankworth’s film only has time to sample a few of Leopold’s many failures at love, focusing primarily on his combative relationship with his overprotective mother.  But the true star here (no offense to Jude Law’s turn as Leopold) is the set and costume design.  Shot entirely on location, The Royal Disease’s painstakingly accurate reconstruction of every costume, object, and room of its Victorian milieu unfolds almost as a type of time travel.  One forgets they are watching a movie so complete is the immersion in period detail. Elegantly stunning and highly educational.
10. Up My Own Asshole, with Vigor (Farren)
Playfully self-reflexive morality tale of Hollywood manners, focusing on a screenwriter who sets out to write the most damning critique ever of the Hollywood system, only to find himself co-opted at every turn by the very system he detests.  While this material can often lead to a type of insufferable navel-gazing, Farren very effectively foregrounds the film’s recognition that it is nothing more than navel-gazing, thus allowing it to gaze even deeper with absolute impunity.  Amanda Seyfried has a wonderful turn as the embattled screenwriter’s on-again, off-again girlfriend, a “granola” type constantly hectoring him to do something more “useful” with his life (until, of course, she lands a role herself in a network mini-series).  By now, one would think the public would be tired of “insider” tales of Hollywood’s glamour and duplicity, but Up My Own Asshole, with Vigor proves the genre still has yet to exhaust its creative possibilities. 

January 21, 2012

"I Had Sex with Hitler and then Almost Fed His Brain to a Condor"

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If you’re like most dolts produced by the American education system, you probably actually believe Adolph Hitler died in his bunker in 1945 when the Russian Army reached Berlin.  Such ignorance is understandable, given how important it was, then and now, to protect the world from the terrifying REALITY of the situation, namely this: At the end of WWII, Adolph Hitler’s brain was surgically removed, placed in stasis, and then transplanted into a willing new host!   Most likely, “Hitler” is still somewhere on the planet today, scheming, ever scheming, to return and complete his plans for world domination. My money says the brain is now in Rick Perry.  Every Texas yahoo talks about secession now and then, but Perry’s recent campaign pledge to annex the Sudetenland is troubling to say the least.
They Saved Hitler’s Brain (aka The Madman of Mandoras) (1963) dared speak this truth in the tortured logic of Z-cinema some fifty years ago.  Legend has it that the film began shooting in the late fifties–only to be shut down by Nazi agents in Hollywood looking to suppress its startling revelations.  It took the courage of a rag-tag band of UCLA students in the early sixties to shoot some additional framing footage, thereby padding out the original film by ten or fifteen minutes so that it might get distribution and thus see the light of day.  But it turns out the Nazis had nothing to worry about.  The temporal rift created by grafting together the film stock and styles of the late fifties and early sixties was so jarring that the movie elicited only jeers and ridicule.  For years it played in the post-fringe graveyard of late-night television, leaving an astonished few to admire the stamina of the actor forced to kneel for hours at a time behind an old ham radio set and under a bell jar in order to “sell” the illusion of functional decapitation.
Happily for lovers of historical drama,  the saga of Hitler’s itinerant brain did not die with that noble, yet failed cinematic experiment.  In 1973, novelist Roland Puccetti tried once again to alert the world to the ongoing hazard presented by allowing Hitler’s brain to remain at liberty,  giving us the sublime revisionism of The Death of the Führer (Arrow Books-1973).
I have now read Puccetti’s book.  Before recounting its alternative history of the years after the Second World War (absolute and total spoiler alert), let me say this:  The Death of the Führer MUST be adapted for the screen as soon as possible.  How it hasn’t already ended up as a major motion picture is a true mystery, one that makes me suspect Nazi sympathizers are once again pressuring Hollywood to ignore the R-rated bombshells contained in this book.  The Death of the Führer is everything Inglourious Basterds hoped to be–but done with such economy and ease that it utterly shames Tarantino’s lumbering attempt to pass off what are essentially five interminably long dialog scenes as some kind of fast-paced caper film.  If you want brutal and stunning Nazisploitative action, then Puccetti is your man.
We begin at a Bavarian ski lodge some time in the 1960s.  A young man–his name is unimportant, call him Mr. Framing-Device if you like–has twisted his leg and must stay off the slopes.  An old man sitting on a bench nearby accurately diagnoses the skier’s condition from afar–for you see, this old man is a doctor: Karl Giesvius. As so often happens when strangers meet in the Bavarian Alps, their conversation soon turns to Hitler.  Karl, it turns out, knows the REAL story, which he proceeds to tell us:
Ten or so years after the end of WWII,  Karl had been sitting in a Parisian cafe when suddenly a local rushed in and begged him to attend to a dying man elsewhere in the city, a dying man who claimed to have information about the whereabouts of….Hitler!  Understandably intrigued, Karl rushed to the man’s bedside to hear a startling confession: “I assisted in the removal and transplantation of Hitler’s brain!”  Later, after the man dies, Karl looks through some old photos and verifies that the dying man had indeed been a member of the Führer’s personal medical team.  He decides to fly to Berlin and begin his investigation.
First task: get inside the Führerbunker and see if any clues are still there.  Now, you might think the Führerbunker would have been picked over for just about any and all items of historical import, and that accessing it would be difficult if not impossible.  But this turns out not to the be the case.  Consulting a map of the compound, Karl figures out where the ventilation shaft should be, and after moving a few well-placed rocks, he’s unearthed the entrance.  After shimmying down the vent, he’s the first person to stand in the Führerbunker since the Russians collapsed the entrances at the end of the war.  What’s down there?  Junk, mostly.  It would also appear a Russian soldier took a retributive shit on Hitler’s bed, an extremely resilient shit considering it somehow survived for a decade before Karl descended into the bunker to witness it.  He checks out the conference room.  Nothing.  Eva Braun’s bedroom.  Nothing.  He’s just about to give up and/or suffocate from a lack of oxygen when finally Karl discovers a hidden passageway connecting Hitler’s bedroom to… a secret surgical theater! 
Looking around the tiled room with his flashlight, Karl discovers a bloody operating table and scalpels that still have hair on them (the hair of Hitler!).  Strangely, though the Nazis had apparently pioneered the art of brain transplantation, they still didn’t quite understand that one should shave a surgical area before operating.  Karl continues his search for evidence.  His flashlight illuminates a strange object on the floor.  Bingo! It’s a brain!  
Hitler’s brain?  Well, no, actually–Karl quickly reasons it is the brain of the poor schmuck who donated his body so that Hitler could have a new ride.  This was some particularly good writing, I thought.  Here Puccetti captures the urgency of the situation back in 1945.  With the allies advancing, Nazi doctors had no time to wash down the operating theater nor throw away the old brain–a point Puccetti emphasizes by revealing that the floor-brain is still in the steely clutches of the forceps used so many years ago to wrench it from its skull!  There’s also a bucket of congealed blood nearby, but Puccetti does not speculate as to why the brain didn’t end up there rather than on the floor. Also, we are left to wonder how this brain tissue, much like the enduring pile of Russian infantry crap in the next room, could survive more or less in tact for over a decade.
Karl’s investigation continues. He finds a plaque bearing the name of the surgical genius responsible for all this brain shuffling: Dr. Wilhelm Tager.  Karl is flabbergasted.  Tager, as it turns out, was his buddy from medical school before the war, his old fencing partner, and a genius of neurology who finished at the top of their class.  That just about seals it.  Find Tager find Hitler’s brain, he reasons.  And then he can kill them both!
After a little more detective work, Karl tracks Tager down to a remote castle somewhere in Spain.  Next obstacle: How to infiltrate a well-guarded compound full of evil Nazi scientists?  Here Karl decides for an elegantly direct approach–he simply floors his motorcycle and breaks through the front gate (as seen on the action-packed cover above).  That might seem crazy, but Karl’s plan is actually a bit more complicated.  After taking a few Nazi bullets and wrecking his bike into a tree, it is Karl’s hope that Dr. Tager will attend to him and then recognize him from their college days.  And this is precisely what happens.  After surgery, Karl wakes up and tells his “old friend” that he just happened to be vacationing in Spain and that the throttle on his motorcycle just happened to get stuck–that’s why he crashed through the gate uncontrollably. 
One might think that the Nazi brain trust (those entrusted with the Nazi brain, that is) hiding out in Spain would be the most paranoid gated-community on the planet–but no one seems to question the fact that Karl, unseen by Tager since before the war, has suddenly and seemingly coincidentally arrived on their doorstep.  Before you know it, all the Nazis have welcomed Karl into their little clique, probably because Karl wastes no time fishing for Hitler leads by constantly bemoaning the fate of the Third Reich.
Later, once he’s completely healed from his injuries, Karl is invited to a big party hosted by the owner of the castle, the beautiful Baroness Gerda Bach-Wisliceny. The party goes well as Karl learns a few new tidbits by eavesdropping.  But still no sign of Hitler’s noodle.
Things really heat up later that night when a guard knocks on Karl’s door.  The Baroness has requested a private audience.  Well, one thing leads to another, and before you know it Karl and the Baroness are in her bedroom ripping off each other’s clothes.  And then this happens:



Her fingers dug into my arms with sharp nails, her back arched spasmodically, she started to pull me down deep into a bottomless pit.  Somewhere within my body a train of cold liquid left its station with relentless fury and plunged on to its destination.


Here Puccetti is telling us, as artfully as he can, that Karl is about to ejaculate into the Baroness.  The story continues.

Gerda’s eyes opened widely now.  The pupils looked dark in the fire glow, much darker than before, and somehow beyond them and behind them there was a deep rustling of Teutonic forests, of shadowy predators roaming in the night…Only then did I raise my trembling, terribly tired fingers to her head, slide them under the golden hair and feel the bony ridge across her skull.  Only then did her lips part to give the fateful cry. 
      ‘ICH BIN DER FUHRER.’

Yes, friends, our intrepid hero and narrator has just enjoyed a simultaneous orgasm with Adolph Hitler– a drop-dead gorgeous Hitler, mind you, but Hitler nonetheless (an alternate cover for the book foregrounds this reveal a bit more forcefully). 
Some might be thinking this was surprisingly enlightened on Hitler’s part, this willingness to have his brain transplanted into a woman.  Funny thing about that–it was actually a complete surprise for the Führer.  Later we learn that Tager and his team had a young, strapping Aryan male all ready to host Hitler’s brain, but the kid died during surgery from an unforeseen complication.  The original Baroness Gerda Bach-Wisliceny, a loyalist if ever there was one, stepped right up and volunteered her body.  Man, was Hitler ever mad when he woke up.  But we are told that the Führer eventually warmed up to and even embraced the idea of being a sexy Baroness.  Realizing it made for a good hiding place, the brain decided to stay put.
But back to the post-coital revelation that our narrator just had some manner of queerly heteronormative gay sex with Hitler.  “What would I do,” wonders the reader, “under such circumstances?”  Given that Karl is dedicated above all else to his mission, he loses no time recovering from this quite literal “mindfuck” and stabs Baroness Hitler-brain straight through the heart, leaving her for dead.
For the next twenty or so pages, Karl is on the run trying to evade capture in the compound.  He jumps a guard and steals his uniform, which buys him a little more time to wander around the castle in search of a way out.  Eventually he finds another series of hidden passageways leading deeper and deeper into the castle’s foundations.  Finally he stumbles upon, wouldn’t you know it, another goddamn secret operating theater!  No sooner have you killed Hitler’s host body than his evil surgical team is right back at it putting his brain in yet another body.  Actually, Karl probably should have seen this coming. After all, as narrator, he of all people should understand the basic premise of his own story.  Caught off guard indulging in some well-deserved self-recrimination, Karl is taken into custody and whisked away to a holding cell. 
You’re probably thinking at this point that Karl himself is destined to be the new donor body for Hitler’s brain.  Makes sense.  Hitler needs the body and the Nazis no longer need Karl–that’s certainly what a lesser writer would settle for here.  But Puccetti has other and much more incredible ambitions.  Karl is wheeled into surgery alright, but finds that his nemesis Dr. Tager instead plans to implant a type of experimental electrode “harness” in Karl’s brain.  In fact, he forces Karl to remain awake as he cuts off the top of his skull and inserts the electrodes one by one.  Later, in post-op, we discover that Tager and his assistants can now control Karl’s actions simply by pushing the appropriate buttons: THIRST, HUNGER, LUST, etc.  This is the sort of thing Nazi doctors live for, apparently.  Bouncing Hitler’s brain from body to body is a neat trick and all, but Tager’s real ambition is to rule the world by implanting electrodes in every human skull!  We also discover here that Tager has no real investment in Nazi ideology–he chose to ride Hitler’s coattails only because Hitler seemed–at the time at least– the most likely to make his dream of global brain control come true.  He would just as easily have cast his lot with the Americans or Russians, if need be.  That’s just how evil Tager is–the pure evil of pure science.
After some pleasure/pain interrogation from Tager and his buttons, Karl is taken back to his cell, which it so happens is a glass cube.  There he devises a brilliant plan.  He will break the glass by ramming his head into the wall, which will also probably disable the brain-electrode stuff at the top of his brain.  At the very least, he reasons, it will interfere with its optimal operation.  Gathering his strength and courage, he runs headlong into the glass–so hard that he blacks out.  When he comes to, however, he finds the plan has indeed worked–there is nothing but shattered glass all around him (and no guards, apparently).  Karl quickly runs back to the lab and pulls all the wiring out of the control-console so that Tager cannot send any more brain signals.
But the console can be quickly repaired, Karl reasons.  No, there is simply no way around it, the electrode net in his brain must come out.  But how?  Who will do the delicate surgery?  Karl.  Karl will do the surgery.  Karl will do the surgery on himself.  Brain surgery.  Karl will perform brain surgery on his own brain.
Are you beginning to understand why this novel must be committed to film as soon as possible?  I already have Scarlett Johansson down for the role of the Baroness.  As for Karl…well, who cares really?  I just want to see the scene wherein Scarlett Johansson reveals that she is actually a busty receptacle for Hitler’s devious brain.  I would trade you any number of Final Destinations and/or Centipede units for such a moment to be captured on film.
Back to the brain surgery.  Karl sets up a mirror to see the top of his head.  “The scalp was easy,” Karl tells us.  Then the skull bone.  Then the membrane covering the brain.  Underneath are the electrodes.  Though delicately inserted only hours earlier by Dr. Tager, Karl finds he is able to simply rip them out of his brain with no real consequences.  But the suspense isn’t over:

There I was, nude and exhausted, unarmed and with the whole top of my brain exposed to raw air. If I so much as leaned forward, the cerebrospinal fluid encasing my brain would spill out; I could imagine the sticky liquid dripping over into my face and blinding me.  


To make matters worse, a guard suddenly appears and interrupts the operation.  Luckily, Karl still has the presence (and fluid) of mind to dispatch him with a nearby bone saw.  But there he remains, his brain still exposed to “raw air” and all of his brain juice about to spill out.  He decides he has no time to stitch the membrane and just goes for wiring the skull back in place.  After that he’s so tired that he just kind of flops his scalp back over the bone, figuring he’ll deal with that after he’s finished killing Tager and finding Hitler’s new cranial hideaway.
Eventually he corners Tager and forces him at gunpoint to the “vault”–the most secret of secret chambers in the bottom floors of the castle.  Inside is the requisite vat with Hitler’s pulsating brain floating inside, awaiting its new host.  As an incidental detail, we are also told there are two crossed sabers on the wall as part of the castle’s Coat of Arms. Almost immediately, however, this proves not to be incidental as Tager calls Karl’s bluff on the number of bullets in the gun, which leads directly to the two men retrieving those very same sabers and reliving their days as college fencing opponents (remember? I told you about that earlier).  Karl is worried, for he never beat Tager in their university matches, but it remains his only hope.  Thrust and parry.  Thrust and parry.  And then Karl spies an “Auto-Destruction” button on the wall.  It’s true.  He really does.  A big red button that will blow everything up.  Even if Karl can’t escape, he can blow up the entire castle, Hitler’s brain, and all the remaining Nazis at the same time!  

Karl pushes the button.  No, you fool! screams Tager.  Ten minutes to absolute annihilation.  Just then Karl sees that the brain vat has become unmoored and is rolling into the periphery of his vision.  Two quick ballet leaps and he is standing over the bubbling vat. He then drives his sword directly into the Fuhrer’s brain!  Tager screams in horror, and Karl takes advantage of his shock to stab Tager “in the crotch” all the way back to the pelvis.  Tager collapses, and in doing so, knocks over the now pinkish red vat of brain and blood.  Hitler’s brain slides across the floor where Karl, not wanting to leave anything to chance, scoops it up. 
Karl must escape–the castle is still going to blow at any second.  Miraculously, he discovers another secret door leading to some kind of mining-car contraption below.  Still clutching the well-stabbed yet still relatively cohesive Hitler brain, he jumps in and releases the brakes.  A bloody Tager crawls along the tracks begging for mercy.   But no dice.  Karl rides the mining-car out of the castle and out into the open air.  There he sees a mighty condor flying through the sky, and considers throwing Hitler’s brain on the grass so that the majestic bird might swoop down and carry it away.  For that would be a fitting final indignity for Hitler’s stupid evil brain–snatched up by razor-sharp talons and fed to a nest full of baby condors.  Just then the earth rocks with the force of the castle exploding.  In the end, Karl simply falls on the brain and “collapses” it good and flat.  
Victory!
Back to our Bavarian ski-lodge in the present day.  The story over, Mr. Framing-Device doesn’t know what to think. Did this old man really have sex with Hitler in a woman’s body, operate on his own brain, and then almost throw Hitler’s brain to a hungry condor?  Just then a nurse appears on scene to retrieve Karl–the sun is setting and it’s time to go back home.  Mr. Framing-Device takes the nurse aside and asks if he might visit Karl again some day.  “Why not?”the nurse responds, “visiting hours at the sanatorium are open to everyone.”
And there we leave it.  Karl might be crazy.  Then again, he might just have a bad case of tuberculosis.  I guess the next generation of historians will have to make the ultimate determination: did Tager somehow get the brain back and put it in Scarlett Johansson, or did it end up in the bellies of a dozen hungry little condor chicks?

January 21, 2012

Toward the Final Beatle

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Confronted with the prospects of watching yet another Beatles documentary, there are many who would understandably prefer a ticket to ride—some place where no one has ever even heard of the Beatles.  Well good luck, mean Mr. Mustard, because that octopus’ garden doesn’t exist.  You may have never given them your money, dear Prudence, but you can no more escape the Beatles than you can throw an old brown shoe across the universe.  “And your bird can sing” is another great title.
So Martin Scorsese had his work cut out for him in producing a 208-minute opus that once again revisits the single most perverse fame eruption of the twentieth-century–Beatlemania.  Even more remarkable, Scorsese’s Living in the Material World (currently playing in two 90-or-so minute chunks on HBO) is really only about 25% of the Beatles; namely, George Harrison…the “third” Beatle, the “quiet” Beatle, the Beatle who forced millions of pop fans to contend with the sitar and songs that occasionally strayed from 4/4 time.  
Fifty years after the Beatles began playing for beer and lodging in Reeperbahn (Hamburg’s notorious red light district, brought to screen here courtesy of contemporaneous footage culled from Mondo Cane), what is there left to say about this collective psychosis that defined a generation, a fixation on the music, biography–and most importantly–the mythos of the Beatles that will continue to enshroud the planet until someone pulls the plug on the last baby-boomer clutching the faders at the final classic rock station?  Even those who have only a casual Beatles habit will be familiar with most of the territory covered in part one—the lads meet in Liverpool, gig in Germany, get signed to Parlophone and George Martin, ignite a mass adolescent sexual frenzy, come to America, become bigger than Jesus, drop acid, push the confines of the recording studio, and so on.   

There are a few new details for the truly obsessed.  We meet George Harrison’s brothers, for example, who rather refreshingly seem to have remained non-fab Liverpudlians unfazed by a having a little brother who, in some improbable cosmic lottery, turned a fascination with skiffle riffs into a billion dollar empire.  Studio geeks, meanwhile, get to hear a few new tales about the recording of Harrison’s tracks on the Beatles’ records, including the story of an Abbey Road engineer working tirelessly to mix properly the saxophones on “Savoy Truffle” only to have Harrison request they be more distorted and bright (and truly, that track remains a treble endurance test to this very day—very “toppy” as George Martin pops in to opine).  Ringo also informs us that if it wasn’t for Paul, the other 3 Beatles would have spent most of the late 60’s in their respective Surrey mansions smoking pot and just hanging out.  Perhaps the oddest detail: the Beatles actually commuted into work each day at Abbey Road in Lennon’s psychedelic Rolls Royce (somehow the idea of the Beatles as working stiffs commuting on the A3 is a winning image—especially given that today even the most abject reality star flotsam expect to be driven everywhere by limo). 
In part two, Harrison’s commitment to embracing the non-material world experiences some obstacles.  There is the notorious triangle with Eric Clapton and Harrison’s first wife, Patty Boyd (speaking of burdens—imagine being the woman who inspired both “Something” and “Layla”—truly she is the face that launched a thousand tracks on Ampex tape).  Scorsese rather delicately handles Harrison’s apparently bad cocaine problem in the mid-70s (footage of a rail-thin Harrison, his voice absolutely decimated, chugging through a truly awful live arrangement of “What is Life?” is one of the documentary’s more cringe-worthy moments).  Wholly absent, no doubt by demand of second-wife/producer Olivia Harrison, is the foundational copyright lawsuit fought between Harrison and the Chiffons over the melody of  “My Sweet Lord.”  Also hanging like a dark cloud over part two is the knowledge that Harrison’s spiritual journey will eventually culminate in getting stabbed in his own home by a schizophrenic and then dying shortly thereafter from cancer. 
This might make Living in the Material World sound like a total bummer.  And in some respects, part two is often melancholic to the point of being downright depressing.  There are bright spots, of course, as in Harrison’s support and patronage of Monty Python (Harrison produced Life of Brian and Time Bandits…as well as Shanghai Surprise, which Scorsese understandably ignores).  Mostly, though, Scorsese’s portrait of Harrison casts him as someone who genuinely wanted to be a better person in a better world, and who ultimately preferred to stay at home and garden rather than do the obligatory record tour every year (at the time of Harrison’s death in 2001, Ringo had put out more albums than his former bandmate—Ringo, for Vishnu’s sake!).  Toward the end of part two, Olivia Harrison recounts how, toward the end of his life, George was invited to various award ceremonies to honor his many achievements, invitations invariably declined by the Beatle who really no longer wanted to have anything to do with the Beatles.  His widow offers this as evidence of her husband’s incredible humbleness—but there is also a sense that his reclusiveness had a touch of bitterness in it as well.
The Traveling Wilburys.  And then a “come-back” solo album that Harrison claims wasn’t really a “come-back” because, by that point, he had long stopped considering himself to be a pop star/public performer anymore. 
And then the stabbing at his home in England.  Given the unprecedented mass cathexis on the Beatles, it’s a miracle all four of them didn’t end up murdered by various crazy people.  Olivia Harrison narrates the events of that particular evening, leaving us to wonder why someone didn’t simply pick up a phone and call the police (Harrison’s initial strategy for dealing with this intruder, we are told, was to “chant” at him from the upstairs window.  A few moments later the guy has broken in, rushed up the stairs, and is wrestling with a wounded Harrison for the knife. So remember, while your mantra may be good for your soul, it remains generally ineffective in warding off the psychotic). 
Harrison survives, of course, only to die two years later from his ongoing bout with lung cancer.  As recounted by Scorsese, Harrison’s death is both more banal and yet, oddly, more profound than the murder of John Lennon.  Assassinated at forty, Lennon died so young and so abruptly that he was able to assume Kennedy-esque stature as a generational icon unimpeded by the embarrassment of continuing to live and thus disappoint everyone (and Lord knows, Double Fantasy was a bad step in that direction).  And besides, getting shot by a nut job outside the Dakota is a freakish tragedy—much like getting hit by an asteroid or falling through a manhole.  But to be someone who ruled the western world at the age of 25, only to then slog on through a failed marriage, some bad investments, a drug habit, and the burdensome expectations of your former greatness, all so that you might then live to be stabbed in your home before dying of cancer two years later—that’s the kind of depressingly common life arc almost any middle-aged boomer can relate to (if, of course, one substitutes the general exhilaration of one’s perceived youthful immortality for Harrison’s time as a Beatle).   And I don’t care how much you think you hate the Beatles, if Ringo’s account of his last meeting with George doesn’t get you misty-eyed than truly you are a soulless monster who deserves to come back in the next life as a latrine-born cockroach (while I understand the counter-distinctual obligations of thinking the Beatles were overrated or even just downright terrible, how anyone who has ever listened to and enjoyed a 3.5 minute guitar-based pop-song in the last 30 years thinks they “hate” the Beatles is beyond me.  It’s like loving spaghetti while claiming to hate Italian cuisine.  Even Kurt Cobain had the self-knowledge and graciousness to acknowledge that nothing much had happened since the Beatles, except perhaps for a general increase in yelling and distortion.    
Ultimately, Living in the Material World, with all its familiar popcult signposts of the past fifty years, is as much about its audience as it is about Harrison himself, artfully beginning the perhaps inevitable process of rewriting Beatles nostalgia into boomer elegy.  Here, too, is where the fascination with meditation, Krishna, and all things eastern finds its ultimate rendez-vous–both for Harrison and a generational audience that once upon a time fancied itself disenchanted with western politics, morality, and religion.  Throughout the documentary, we are told how Harrison’s spiritual quest was to practice “the art of dying,” to be at peace with one’s death so that the universe doesn’t force you to return for another round of frustrated desire and corporeal misery.  Apparently realizing at a freakishly young age that one faces the end alone, no matter what one acquires or achieves in this world, Harrison makes for a compelling index on boomer spirituality in general, an emblem of material success/excess apparently quite sincere (and thus quite conflicted) in his attempt to renounce the trappings of this world. 

This, finally, is the ultimate trick of Scorsese’s documentary–transforming Harrison the counter-cultural icon into just another aging boomer (albeit one of unimaginable wealth and fame—and, technically, not actually a boomer), doing his best to survive the humiliations of mortality with some grace and dignity, all while trying to remain true to a core set of beliefs.  Olivia recounts her husband’s last moments on earth as “glowing.”  I certainly hope so.  If, after his extraordinary ride through the late twentieth-century, George Harrison couldn’t figure out what does and doesn’t ultimately matter, what hope remains for the rest of us still plowing our way through the particularly pernicious maya of western existence, the legions of boomers who–years after their perceived rebellion against the social order–have rather lazily crawled back to the church of their parents more out of habit than belief.  Scorsese ultimately makes the viewer admire George, the quiet Beatle, not so much for being a Beatle, but for fighting so hard (and perhaps so futilely) to escape the absurd cosmic joke that gave birth to the Beatles in the first place.

January 21, 2012

I Saw That Show Where People Travel Back in Time to a Spielberg Movie from the 1980s.

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Conventional wisdom has it that science-fiction doesn’t do well on television, or at least on network television.  Too expensive to produce and too limited in its appeal.  Earth 2. Firefly. The Event. V.  None made it beyond 30 or so episodes.  “But what about Battlestar Galactica?” cries the guy with the phalanx of Cylon Centurions protecting his iMac from the incursion of various snack-related threats, “that was the greatest TV series of all time!”  Cool your jets there, space-boy, that was first-run syndication and a whole other kettle of space-fish.  For the most part, network executives listen to sci-fi pitches with the same enthusiasm that label heads used to reserve for concept albums.  A plucky band of space pirates raiding ships in the Van Allen belt, played for love and laughs but still true to the principles of actual science?  Great…let me clear Thursday night for you.
Meanwhile, over at NBC, the peacock has made the daring decision to program sci-fi during its storied Thursday-night block of comedies.   Taking a nod from the 80s girl-robot oddity, Small Wonder, upcoming episodes of Whitney will reveal that the show’s sassy lead is actually under the brutal cybernetic control of her bionic ass, an implant turned sentient that now demands endless display and tribute.  As seen so prominently in the first two episodes, the imperious buttocks frequently compel their helpless host to wear silly costumes that better accentuate the bio-butt’s perky insouciance.   Will Whitney’s jaunty yet evil ass ultimately demand admiration and tribute from all of the earth?  Just what does Whitney’s ass want of us?  Stay tuned and find out.
But it is Fox that may well be taking the biggest sci-fi gamble, partnering with Steven Spielberg’s Amblin’ productions for Terra Nova, a mind-bending entry into that subgenre of sci-fi typically known as “a real hoot.” The basic premise here involves the standard Spielbergian narrative-focalization family-unit traveling back in time 85 million years to start over in a new human colony, one that seeks to escape the tech noir future so cruelly foisted upon the earth by Arnold Schwarzenegger back in the 1980s.  
We open in the Chicago of 2149, where every cliché of our collective dystopian future must be mobilized in just under twenty minutes in order to motivate Jim and Taylor Shannon’s rather impulsive decision to flee the civilized world so that their children might touch dinosaurs. In this horrible future of 2149, we are told, the air is really bad, oranges are rare, kids have never seen the moon, and the government strictly enforces a two-child limit on breeding.  Worse yet, decent middle-class families with Irish surnames are forced to live in small apartments that, while they would be palaces to most of the world’s population in 2011, are shown here to have the bad taste and abysmal feng shui that comes standard with a galley kitchen. 
Now, I realize I’m supposed to think this is the most horrible fate imaginable, and that any sane person would gladly run blindly into a wormhole for the chance to eat a fresh peach and see the Big Dipper.  Perhaps it’s because I live in the Windy City, but all I could think of was how amazing the Chicago of 2149 looked, as if five Hong Kongs had been smashed together on the shores of Lake Michigan, all interconnected by tubular monorails and reaching up into a perpetually hazy sky.  It looked like a city where a million different adventures were taking place at that very second—an urban paradise where you could eat any cuisine in the world, network on your quad iReality device, solve a perplexing future-crime, and have your scrotum painlessly tattooed… all at the same time.  Why anyone would leave this citadel of wonder is anyone’s guess, especially for little more than an opportunity to repeatedly hammer one’s thumb building some kind of prehistoric hut in which to store a sumptuous harvest of nuts, twigs, and berries, most of which no doubt fished out of the great steaming piles of Apatosaurus shit surrounding the Terra Nova compound.  

If you subscribe to Spielbergian logic, of course, you would do this because nebulous “government” agents represent a hazard to your dear sweet innocent children.  Sure enough, as the Shannons gather at home to savor their precious orange, the police arrive unannounced to investigate a rumor that the family is harboring an illegal third child (which they are).  Not being the sharpest tool in the shed, dad (Jason O’Mara) hides the contraband toddler inside an air vent, thus insuring that the child will start crying from claustrophobia and dust mite infestation in under a minute (which she does).  Jim takes a swing at the cop and ends up in jail, thus initiating a pre-credit action sequence in which dad must escape from the pokey, pick up a suitcase stuffed with child #3, and get to the wormhole in time to meet his wife (Naomi Scott) and other two kids.   Once again, our sympathies are supposed to be with the Shannons, sharing their outrage that the government would be so evil and repressive as to enforce a ban on having more than two children.  Still, you have to think that if ol’ Jim would have just snipped his vas deferens, his family and the world would have been better off, leaving more oranges and kitchen space for everyone else.
Once we get to Terra Nova, both the Shannons and the viewers have a lot to learn in order to make this a functional weekly franchise.  We discover that Terra Nova was founded by Nathanial Taylor (Stephen Lang)—a great white father who was the first to stumble through the wormhole.  There are dinosaurs, of course, and a big fence separating the community from the more interesting narrative possibilities outside.  Then there are “the sixers,” a group of castaways that apparently crashed on the other side of the island—a splinter group of settlers who live near the quarry and continually hassle the Terra Novenians.  There are also lots of boss machine guns and sonic pulse weapons, as well as a motor pool stocked with all kinds of military vehicles.
So, in this effort to “save” the human race and rebuild humanity without “repeating all the same mistakes,” we can see that Terra Nova is already D.O.A. from scene one.  A charismatic patriarch, nuclear families, guns, gasoline, and a mysterious Other living out in the woods—why not call the show Red State Nova instead?  How long until the Shannons are standing in line for a shot of cyanide-flavored Kool-Aid, convinced the mysterious Robamanites are about to raid the compound and take away the colony’s best guns and cutest children? 
I will admit that at this point I took a break to pay the delivery guy and eat some Thai food, so I missed a good 15 minutes or so of the premiere’s first hour.  From what I can surmise, however, this is when we learn that Terra Nova exists in an “alternate time stream,” which is of course the chicken-shit way of explaining oneself out of various time-travel paradoxes (i.e. if Terra Nova “succeeds,” isn’t it inevitable that it produce the very future that allowed the Shannons to go back in time?  Or, wouldn’t the existence of Terra Nova skew history to the extent that the Shannons might never have existed in the first place and thus could not go back in time to follow House?  An “alternative time stream” takes care of all that, space nerd, so just enjoy the ride).
The true highlight of the first episode, however, is the moment when the Shannons are shown to their tasteful bungalow, complete with hardwood floors, a breezy open floor plan, and even a little SoCal landscaping.  Incredibly, though they were just living in a supposedly hellish cube in a Chicago high rise of 2149, everyone seems vaguely disappointed—like they expected better digs in 85 million B.C. Truly, American privilege knows no limits.  Happily, Mom decides they might salvage the space with a rug of some kind…that is, if they have rugs in 85 million B.C.  It is an anxious moment, played for pathos, in which the family realizes–perhaps for the first time–that they now live in a world without the riches and comforts that come from living in proximity to a strip of Big Box stores. 

With some basic exposition out of the way, Terra Nova then chugged into a second hour that was strictly about making work for Spielberg’s old raptor pals from the nineties. The terror begins when the son (Landon Liboiron), like any rebellious high school senior,  ditches his mandatory orientation session to hang with a cute girl and some other teens from the rec center.  Together they sneak outside the fence so they can drink some moonshine they have brewing out in the jungle and play a little G-rated grab ass.  Before you know it, they are at the center of a standard Jurassic era scenario—trapped in a vehicle and getting knocked around by a pack of bloodthirsty dinosaurs!  The producers must think this is a major draw for the series, since this dinosaur evasion sequence ended up eating about thirty minutes of screen time.  Run! Shoot!  Growl!  Scream!  Run some more! But in the end, everyone’s okay, and the son has learned important lessons about obeying dad, respecting the rules of Terra Nova, and following the directorial cues for interacting with CGI beasts that aren’t actually on set. 
The second episode ends with an attempt to get us invested in the mystery of some inscrutable cave scrawling, folding in a bit more Lost folderol to hook the easily hookable into thinking something more profound might be at work here (beyond a table of writers treading water from week to week).  The scribbling, it would appear, is the work of the Great White Father’s missing son, who now lurks the jungle as a primordial Boo Radley.  Given the already pissy relationship between the men in the Shannon clan, this certainly puts Terra Nova in the running for the most Oedipal series of 2011.  
All in all, Terra Nova is just what you’d expect in a craven attempt to travel back in time to the stronger and more certain entertainment franchises of the golden nineties.  Apparently, though, not everyone was pleased with the two-hour premiere spectacular, as evidenced by the following comment at imdb (the very first, no less):
Apparently, the dinosaurs are bullet proof because they wouldn’t take ANY damage! All you saw was a ricochet effect off them, and in some cases they were using a 50 caliber gun mounted on a transport vehicle. This wasn’t a plot point or anything so it comes off as very lazy special effects. This then leaves the problem, if the guns don’t hurt the dinosaurs, why would you take a weapon out to defend yourself from them if it doesn’t work? I mean they had about 6 guys shooting one and it eventually turned and ran. I can see maybe they wanted to tone down the blood and death a bit in the pilot but it came off as a major flaw.
So there you have it, Fox.  You wanted to do science-fiction?  Just remember the type of fans that come with the genre.  This customer won’t be happy until you spend a couple extra million animating some convincing bullet trauma to T-Rex’s face.  And are you ready to withstand the overly long and ridiculously self-righteous letters you will get once you cancel Terra Nova?   Maybe it’s not too late to greenlight that new Gordon Ramsey show where he tears down little kids’ lemonade stands.  Or, given that Terra Nova’s premiere got bested by the second episode of Two and a Half Men, maybe we can look forward to Charlie Sheen emerging from the wormhole at mid-season. That would be Terraterrific!   

UPDATE: Episode 2 (or 3, depending on how you count them) featured a pretty straight forward rip-off of The Birds (1964), with tiny (but deadly!) pterodactyls taking the place of Hitchock’s murderous crows.  Episode 3 (or 4) promises an “amnesia virus” sweeping through the compound. Could Terra Nova signal its fundamental contempt for television any more loudly?

January 21, 2012

Its Never Sunny Anywhere

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It’s Always Sunny in Philadelphia just began its seventh season on FX.  With any luck, the series will bounce back from a sixth season that, as any objective Phillyphile would agree, was uneven at best.  Last week’s premiere, “Frank’s Pretty Woman,” was certainly a good start, returning “the gang” to the moral muck in which they thrive best (Frank decides to marry his favorite prostitute, the gang decides she needs to be “classed up,” hilarity ensues).
Sunny may well be the most distinctly “American” sitcom on the air at the moment.  That claim will make many bristle, I’m sure, especially those sensitized by post-graduate name-calling to resist any and all such sweeping generalizations about nationhood and identity.   So let me clarify: the series does not (and could not) speak to some impossible unity of “American experience,” whatever that might still mean for anyone beyond Tea Party time-travelers; instead, it rather doggedly documents a certain mindset that is unique (or perhaps just particularly widespread) in the USA of the twenty-first century.
Like many sitcoms, Sunny is a hybrid of earlier successes given its own distinctive twist—what might best be described in industry shorthand as a more loathsome Seinfeld meets a downscale Cheers.  From Seinfeld, the show borrows the now ubiquitous formula of urban singles who seemingly have little to no responsibilities beyond cultivating their skills at bantering.  Sunny also replicates the 3 guys/1 gal structure—but with the crucial addition of Danny DeVito’s “Frank” as the gang’s debauched and wholly irresponsible patriarch (Frank was a brilliant addition to the show’s architecture.  Father to the borderline American Psycho Dennis (Glen Howerton) and his ever-annoyed sister Dee (Kaitlin Olson), Frank doesn’t really seem to give a shit about anyone other than himself—devoting his senior years to drinking and whoring.  But as he either has (or had) money stashed away, he becomes the default protector/bankroller of the gang’s various misadventures). 
But while Seinfeld and company most often worked over the everyday minutiae of middle-class aggravation (“first-world problems,” as some now call them), Sunny’s crew seems to bicker endlessly about absolutely nothing at all.  More to the point, each character is typically so dug in defending his or her own delusional take on the sitcom situation at hand that, in the show’s best moments, it creates a polyphonic exchange of variously narcissistic and selfish monologues that amplify more than answer one another.  Often this is the crucial ingredient in separating the best episodes from the average—whether or not cast and director have captured the best possible group rants on film (last season, for example, some of this banter—typically so “natural’ to the cast—seemed a bit more forced, for whatever reason).    
Obviously, people everywhere in the world often argue about completely stupid and pointless things.  The distinctly American flavor of Sunny, I would argue, stems from the fact that each character, despite being a woefully uninformed and misguided idiot, is always completely and wholly convinced that he or she is 100% correct in any and all arguments—so much so that any actual communication, dialogue, and persuasion as we typically know them rarely if ever take place.  Characters will on occasion convince one another to cooperate in enacting a scheme of some sort, but most often these are only alliances of momentary convenience—each member of the gang is ready, willing, and able to screw over the other at the drop of a hat.  If Seinfeld famously lived by the credo “no hugs,” Sunny remains steadfastly committed to the principle of “no empathy”…for anyone…ever. 
Set primarily in the crappiest bar in Philly’s most dilapidated neighborhood, Sunny also references Cheers, but with an emphasis on capturing more honestly the milieu of the chronic drinker (Paddy’s, or its Boston equivalent, is where Cliff and Norm would eventually end up after drinking away their pensions).   The “bar” set (or its displaced cousins like “Central Perk” and the “Peach Pit”) has long been central to TV architecture—public spaces where characters can congregate for jokes and plot points.  Typically these sets weave the characters into a larger social world—the cast surrounded by various extras that circulate to signify the characters’ integration with our own reality.  True to the wicked inversions of Sunny, however, Paddy’s bar is a bleak and generally empty space.  It is occasionally packed on special occasions in service of the plot, but for the most part  has no clientele and merely serves as an echo-chamber for the inane bickering of the cast.  This isolation is further underscored in the exterior establishing shots that invariably depict the bar as standing alone in a beaten-down warehouse district devoid of all humanity, a place where one expects to see a tumbleweed blow by festooned with used condoms and dirty syringes (at left, L.A. exterior used for Paddy’s–courtesy Flickr Yousuba&!).
American comedy is frequently concerned with the invisible shell-game of “class,” typically in ways that stylize poverty to make it either a momentary comic irruption in middle-class life or the launching pad for eventual middle-class success.  Sunny, on the other hand, is particularly candid in examining the thin line dividing crippling destitution from out-and-out homelessness.   Given their location, the gang is constantly mixing with addicts, prostitutes, criminals, and—perhaps most magically—various shady characters that Frank and Charlie meet “under the bridge.”  Slightly better off than their neighbors, the gang’s relation to the human misery all around them is like that of most Americans—instrumental indifference (their repeated dealings with “Cricket” come to mind).  Building on this bedrock of a permanent underclass with no possibilities or aspirations, individual episodes often focus on the particularly American delusion–cultivated by almost everyone occupying a position other than Fortune 500 CFO or crack whore—that every citizen of the USA  is middle-class and rising.  Dennis, Dee, and Mac (Rob McElhenney), in particular, are constantly misjudging their positions on the economic, educational, and cultural ladder (Frank and Charlie (Charlie Day), for different reasons, don’t appear to care one way or another).
If nothing else, Sunny signifies how far television has come from the days of Buffalo Bill.  A noble one-season failure in 1983-84, Buffalo Bill was a much-heralded MTM sitcom starring Dabney Coleman.  The show garnered a lot of attention as the first sitcom to feature a lead character who was often “unlikeable” (a matter of judgment, obviously, as all of us no doubt have a sitcom lead from the 50s, 60s, or 70s we would like to punch in the face.  I’m looking at you, Hawkeye).   With Sunny we have an entire ensemble of assholes.

With one notable exception, perhaps unexpected in the show’s original design.  Despite the program’s general commitment to venal nastiness, Frank and Charlie’s warped father-son vibe has become somewhat of a moral anchor for the series.  Frank, again, has lived the middle-class “dream” of marriage, kids, and a house in the ‘burbs—but has decided, rather courageously, that he’d rather crash in a horrifying studio apartment and devote his time and energy to getting fucked up and laid as much as possible.  Meanwhile, his room and Murphy-bedmate Charlie is the show’s sole remaining innocent, a guy that one could imagine, given the right circumstances, might end up institutionalized either out of injustice, inconvenience, or a simple misunderstanding.   Like the rest of them, Charlie has his schemes.  But he also seems relatively content to never leave Philadelphia so that he might continue devoting his life to trapping the bar’s prodigious rat population.   
So, to summarize: uninformed, narcissistic idiots constantly arguing at cross-purposes, standing in a dying business in a dying neighborhood, ceaselessly scheming their way toward greater class mobility and failing utterly, but protected from their unrelenting idiocy by the residual capital reserves of their putative father—what could be more American than that?

January 21, 2012

Exploded Fortress of Solitude

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If you plan on being in London anytime in the next couple of months, I recommend you check out the new exhibit by American artist, Mike Kelley, at the Gagosian Gallery (6-24 Britannia Street). For those who don’t know Kelley’s work, the Kandor series is an ongoing sculptural project based on the “shrunken city” of Kandor featured in the silver-age Superman comics.  The capital of Krypton, Kandor was miniaturized and stolen by the evil Brainiac moments before the destruction of Superman’s home planet.  At some point, Superman himself came into possession of the tiny city and its citizens, securing them beneath a large bell jar in his fabled Fortress of Solitude until he could find a way to return the Kandorians to their normal size (a task that took some 20 years of comic book time).  Fascinated by the fact that Kandor, as inked in the comic book, seemed to mutate into different forms with each new appearance, Kelley has over the past decade translated several of the comic panels into large sculptural form (Kandor 14 is to the left).  Like much of Kelley’s work, the Kandor series plays with Freudian exchanges between the popular unconscious and the unconscious popularized, presenting Kandor as an insistent and quite literalized symptom of Superman’s boyhood trauma.  In many ways, the sculptural pieces expand upon a reading of the Superman mythos that Kelley first introduced in 1999 with Superman Recites Selections from The Bell Jar and Other Works by Sylvia Plath, a video that
presents exactly what the title suggests–Superman reading The Bell Jar to the bell jar that hangs over Kandor.  If you find that as hilarious and as poignant as I do, I highly recommend taking a look at the The Extracurricular Activity Projective Reconstruction project (EAPR) is to be a 365-part video/sculptural series addressing the “repressed” blank zones of Educational Complex.  Each EAPR is a promiscuous mix of personal memories, pop culture, and standardized “recovered memory” scenarios.  The London show debuts #36 in the series, “Vice Anglais,” which imagines the life of Dante Gabriel Rossetti staged as a Hammer horror film.  Rossetti, displaced here as “M’Lord,” leads a gang of perverts on a subterranean tour of debauchery, loosely organized around Rossetti’s own famously salacious biography. Particularly stunning is the sudden appearance of M’Lord’s muse, Golden Rod, an ambulatory yet mute corn cob creature apparently visible only to M’Lord.  At another point in the video, M’Lord wanders alone into a cavernous chamber and encounters–without explanation–the seemingly abandoned Kandor 10B. 


The London show also features a number of sculptural works independent of either the Kandor or EAPR series. Topo Gigio Topographical Model (detail at left) is a particular favorite of mine in its odd mixing of the whimsical and the creepy, a difficult tone that Kelley is particularly adept at achieving, here and elsewhere.

So if you’re in the vicinity of Kings Cross, stop by and take a look. The exhibit runs through October 22 and the catalog should be available shortly thereafter. 





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