Saturday, April 08, 2006

Whoopee! We're All Gonna Die!

Back in 2000, when King George of Dumbfuckistania was first elected appointed to the US Presidency, I knew it would be a bad thing.

"It doesn't really matter who's President," one cynical friend said. "All politicians are beholden to the same special interests, and therefore will act in the same predictable ways."

"He's not actually stupid or evil or any of those things," I heard from a right-leaning associate. "You can't possibly believe that. It's just liberal media spin."

"It's not the end of the world," a roommate advised. "One President can only do so much damage. It's the way the American system has been set up."

Well, I hate to say I told you so. Actually, I take that back. I love to say "I told you so," and this current situation with G.W.B. provides the perfect opportunity. I fucking told you so, America. I've been telling you so right here since 2004, and I was telling people so in my personal life well before that. This President and his cabal of freaky perverts, kleptomaniacs and sundry bloodthirsty creeps will not be happy until the Middle East is a perma-charred graveyard drained of all its natural resources and America is a totalitarian Christianist dystopia wholly owned by Wal-Mart, Sprint and Pfizer.

Or haven't you heard the news yet? Seymour Hersh, investigative reporter for the New Yorker who has been instrumental in breaking a number of anti-administration news stories ignored by almost everyone, has now announced that Bush is determined to strike at Iran with nuclear weapons. Or, as he would pronounce it, noo-kyoo-lar weapons.

The administration of President George W. Bush is planning a massive bombing campaign against Iran including use of bunker-buster nuclear bombs to destroy a key Iranian suspected nuclear weapons facility, The New Yorker magazine has reported in its April 17 issue.

Neato! Can I cower under my desk with my arms covering the fleshy part of my neck yet?

The article by investigative journalist Seymour Hersh said that Bush and others in the White House have come to view Iranian President Mahmoud Ahmadinejad as a potential Adolf Hitler.

"That's the name they're using," the report quoted a former senior intelligence official as saying.

The intelligence official then added, "Not because they're equally evil or bent on world domination or anything. George has trouble remembering foreign-sounding names, so we just let him call all the good foreign leaders 'Blair' and all the evil ones 'Hitler.' It's best to keep things simple and direct for the President. Cause, you know...he's an idiot."

I'm just wondering if the President uses 'Blair' in reference to Tony or his favorite character on TV's classic "Facts of Life."

A senior unnamed Pentagon adviser is quoted in the article as saying that "this White House believes that the only way to solve the problem is to change the power structure in Iran, and that means war."

When asked which military theorists have most influenced his worldview, Bush responded "that Chinese dude, Sun...um...Chu...no, wait...um...Oh, yeah, I remember. John Woo's 'The Art of War.' That one's purty good. Well, the introduction is anyway. Oh, also, Daffy Duck cartoons."

The former intelligence officials depicts planning as "enormous," "hectic" and "operational," Hersh writes.

Because, as everybody knows, the best way to change the fundamental power structure of a Middle Eastern nation is to just send the Army in there and start kicking ass! And we don't even have to plan for a post-invasion of Iran because, as soon as we start dropping them nukes on the major cities, the people are certain to rally to our cause! They'll probably greet us with flowers and candy and maybe even 72 virgins per American soldier!

I know it sounds like my usual hyperbolic sarcasm in that above paragraph, but I'm totally serious. These idiots are really trying to sell us that old lie again, even while Iraq tears itself apart in Civil War.

One former defense official said the military planning was premised on a belief that "a sustained bombing campaign in Iran will humiliate the religious leadership and lead the public to rise up and overthrow the government," The New Yorker pointed out.

Humiliate the religious leadership? I'm not quire sure that would actually be the effect of a sustained bombing campaign that included nuclear weapons. Maybe we'd liquify the religious leadership. But even though I'm sure advanced radiation sickness could have the potential for public embarrassment, I think the aftermath of a nuclear strike is typically defined by stronger terms than "humiliation." Devastation might be a nice place to start, for whatever country we bomb and the entire rest of the world that will then have to deal with the consequences of a second American pre-emptive nuclear attack. I mean, you think other countries are upset with us now? Even Mexicans won't want to hang out here if we start nuking civilian populations.

The end of the article makes the case that cooler heads may yet prevail. But I have to think that this officially marks an end to the "both political parties are really the same underneath all the rhetoric" argument. Yes, both parties shill for corporations on a regular basis. But only one seems determined to bring about some kind of Biblical Armageddon by repeatedly and violently antagonizing a large sector of the worldwide population.

The Top 101 Screenplays in English, Except for "Grand Illusion" and "8 1/2"

That's the first thing I don't get about the Writers Guild of America's list of the Top 101 Screenplays. Do they simply mean American screenplays? Then why do they include Jean Renoir's Le Grand Illusion at #85 and Fellini's 8 1/2 at 87? Grand Illusion is partially in English, sure, along with German and French. But it's clearly a French movie. Just look at that title. Don't have a lot of American film titles starting with Le unless it's followed up with gally Blonde.

If foreign films are eligible, this list is an embarrassment in the extreme, because it's almost entirely made up of American films except the rogue British title (like Third Man), 8 1/2 and Grand Illusion. I'm assuming the WGA meant English-language titles only, and made an exception for the Renoir film because some of the characters speak English, and then some stupid intern snuck the Fellini movie on there, not knowing any better.

Because any other explanation makes no sense. I'd string off a list of worthy international movies for such a list, but it would be unfathomably long.

The other thing I don't get about the list is why it sucks so much ass. The Writers Guild is full of professional movie writers, correct? Don't they watch movies before writing them? Where else do they find old ideas to steal repurpose?

Anyway, the full list can be found on the WGAw page here. It's not so mcuh that the list is total tripe. There are a whole lot of good, deserving movies on there. I dislike the thing more because it's so predictable and safe. I mean...yes...Wizard of Oz is a great movie. But when I think about what made it great, I think of the songs and the performances and the dazzling Technicolor. I don't really think of the classic writing neccessarily. Not that it's a poorly-written film by any means but...I mean...Come on. The 25th best-written film ever?

Here are the movies on the list I would remove entirely:

Tootsie: A funny movie with a great lead performance by Dustin Hoffman. Absolutely not among the best-written films ever. Did Larry Gelbart's mom get, like, 200 votes or something? Please, people. With Some Like it Hot at #9 and this at #17, I'm starting to think some people at the WGA just like seeing men dress as ladies.

To Kill a Mockingbird and Gone With the Wind: Zzzzzz....snort....zzzzzz.....Oh, we were talking about movies? Right. "Hey, Gone With the Wind, what are you doing here? You're really sappy and overlong and occasionally really pointless. And besides, all your memorable dialogue is taken directly out of a best-selling novel anyway! That goes double for you, To Kill a Mockingbird. Why don't you two go play in an endless look on Turner Classic Movies. I'd like to talk about some actually interesting movies that maybe everyone hasn't seen 100,000 times already."

Shakespeare in Love: That pop you just heard was a blood vessel in my frontol lobe exploding from trying to process the sheer stupidity of putting this lightly amusing comedy at #28. I've got to head on over to the ER, so why don't you folks take a moment to consider that this trifle (which also, I might add, features some heavy cross-dressing) thus outranks Sullivan's Travels, His Girl Friday, The Third Man, The Sweet Smell of Success, The Sting, Goodfellas, The Maltese Falcon, The Bridge on the River Kwai, Crimes and Misdemeanors, Raging Bull and Being There. Yeah...let that sink in...

American Beauty: Hey, I like American Beauty, but the fact is that it loses a lot of its luster on repeat viewings. Part of what gives Alan Ball's writing its zing is the thrill of the new - he writes unique, idiosyncratic characters who see the world in interesting ways. But when you really start to think about the film, it starts to seem affected, heightened and precious. (That's what makes stuff like the bag flying in the wind video so ripe for parody). Anyway, it's a good film and a good script. But #38, above Goodfellas and Cuckoo's Nest and The Lady Eve is ludicrous.

Jerry Maguire: Fuck you, Writers Guild. Even though I hope to join you some day soon, I totally hate you right now. Jerry Maguire is a bunch of lame sitcom one-liners and adorable kid jokes and catch phrases posing as a real movie for adults. We're supposed to think JM has depth because he sings Tom Petty to himself in the car, but really he's a place-holder - the well meaning but confused guy - just like all the other stock characters. (Hey, look everyone, it's Shy and Mousy but Deeply Passionate Girl, Outrageous Football-Tossing Black and Cutthroat Ball-Busting Businesswoman! The whole gang's here!) Still think Jerry Maguire is a force for good in the world? Six words for you, pal: Academy Award Winner Cuba Gooding Jr.

Memento: Now, I like this movie, and I don't want to knock it. But essentially, it's all based around a gimmick, and once you really figure out that gimmick the movie's not really a classic any more. It's clever, and I think Christopher Nolan's a pretty major talent, but this list has almost no great film noir classics, which remain to this day some of the best-written mvoies of all time, so I just don't think there's really room for a solid 90's indie thriller.

Here are some movies to take their place that were left off (not including foreign-language films, to give them the benefit of the doubt):

The Untouchables: David Mamet's script for this movie includes not only an insane amount of memorable dialgoue, but also provides a blueprint for one of the most organic action films imaginable. The big set pieces, the memorable sequences like the trian station shootout, build slowly and always subvert your expectations. Plus, Al Capone makes one hell of a cool, hatable villain.

Out of the Past: The script's credited to Daniel Mainwaring, and it's based on his novel, but it's the retouch by pulp-meister James M. Cain that really gives the dialogue in Out of the Past its zing. Nothing less than one of the most fluid, graceful mysteries ever written, and the script provided for some of the best work in either Robert Mitchum's or Kirk Douglas' career (that I've seen, anyway).

Blade Runner: I'm genuinely surprised this film was left off the list. It's usually included in generic "Best Films" lists, and one of the most striking and impressive aspects of the movie is its successful interpretation of a Phillip K. Dick headscratcher. Usually, when writers take on Dick for the big screen, they turn his thoughtful science-fiction into mindless chase movies. (I include Total Recall in this category, even though I love every moment of it). But Hampton Fancher and David Peoples manage to keep some of the writer's eccentric genius and heady philosophy intact while still giving Ridley Scott enough incident and atmosphere to make the finished film entertaining.

Dirty Harry: Ridiculous. Redefined the cop movie, gave the word "do I feel lucky," created one of the single most iconic characters in cinema history, but these bozos find Field of Dreams more worthy of praise.

I'll be thinking of more missing titles and muttering angrily to myself all night, most likely. But there's no need to bring you peopel down to my level. You get the gist of it.

Thursday, April 06, 2006

Encyclopedia Bush is on the Case!

Okay, explain something to me...

About two and a half years ago, back in September 2003, when all this Valerie Plame leak stuff was first going on, the Washington Post ran this story. In it, Bush's spokesman Scott McClellan and other high-level sources claim that the White House will fire any employee found to be responsible for the leak. (The White House adds that, because it has no reason to suspect any administration wrong-doing in the case, it doesn't plan to begin an official investigation into the matter.)

"There's been nothing, absolutely nothing, brought to our attention to suggest any White House involvement, and that includes the vice president's office, as well," said Scott McClellan, Bush's press secretary. He said that "if anyone in this administration was involved in it, they would no longer be in this administration."

Okay, so clearly, this was crap. It has since come out that Scooter Libby and Dick Cheney definitely had a role in the leak of Plame's identity to Judy Miller, Matt Cooper and other reporters. (It has also been suggested strongly that Bush's closest advisor Karl Rove may have had a hand in the leak).

But now, it appears that Bush himself was in on the leak from the beginning. Here's the Associated Press from just today:

President Bush and Vice President Dick Cheney authorized Cheney's top aide to launch a counterattack of leaks against administration critics on Iraq by feeding intelligence information to reporters, according to court papers citing the aide's testimony in the CIA leak case.

...

In 2003, when the public furor erupted over the disclosure of a CIA operative's status, Bush said he wanted to get to the bottom of the affair. "I want to know the truth," he said at the time.

Libby's testimony puts the president and the vice president in the awkward position of authorizing leaks. Both men have long said they abhor such practices, so much so that the administration has put in motion criminal investigations at their behest to hunt down leakers.


The funny thing is, I'm not sure Bush was being entirely 100% dishonest. Perhaps he really has spent the last 2.5 years searching for himself. You're gonna tell me he's not that stupid?



I suppose, now that the Plame leaker has been revealed, George can go back to his previous investigation, teaming with OJ to find the real killers of Nicole Brown Simpson. No need to fear, America! Justice in on the way! Encylcopedia Bush is on the case!

Thursday Cat Blogging

You've seen it on other blogs, now it finally comes to Crushed by Inertia. Cat Blogging.



This is my latest in a string of new roommates, Sasha the Cat.

He strikes me as a pretty nice, well-behaved and social cat based on the few moments I've had to get to know him. Unlike a lot of other cats I've known, he's not stand-offish...He'll actually walk up to you as opposed to darting behind furniture or into cabinets as soon as an unfamiliar human comes around.

Sasha's the third new roommate moving in this week, on account of my previous two roommates having to get out of this apartment for the sake of their sanity. Former roommate Eugene has moved to a similar place just down Venice Blvd., although I doubt we'll be seeing one another again any time soon. And former roommate Nathan is currently driving across the nation en route to his home state of Ohio.

Which leaves me and my Laser Blazer co-worker Sig, his friend Joe and Sasha the Cat to occupy the old stomping grounds here in lovely, scenic Palms, CA. It's going pretty well thus far. The guys hired a cleaning crew togive the place a much-needed once over before Move-In Day. The ladies who showed up to do the cleaning were clearly disgusted. We don't speak the same language, so I couldn't actually understand what they were saying to one another regarding my housekeeping skills and basic hygiene, but I'm sure at some point it included the Spanish word for "biohazard."

At one point, they moved the refrigerator and other major kitchen appliances in order to sweep behind them. I wish I had a picture of the debris hidden beneath the fridge, but I didn't have my phone on me. Just picture a Hieronymous Bosch painting covered in beer, mold and bong resin and you'll get a decent idea.

So now the place is all clean and full of comic books and cats. Plus, I have complete and total control over the DVR, a welcome change from the days when I had to wade through 55 episodes of "Family Feud" just to find my recording of last night's "Seinfeld" (if it hadn't already been erased to make room for more "Family Feud.")

Still, I'll miss the old roommate situation. Even the filth. In some ways, having a foul and cluttered apartment makes you feel young. It's like a continuation of college life in some ways, when everyone has a blatant disregard for keeping house and obeying the proper rules of etiquette and grooming.

Times have officially changed. With Nathan moving out, this is the first time since moving out of my parents house that I don't live alone or with college friends. Kind of sad. The end of an era. But on the plus side, it's also the first time in probably a decade that I can look at the floor of my shower and not feel somewhat nauseated. So you take the good with the bad.

Wednesday, April 05, 2006

Ann Coulter's Confidential Report

So, while browsing around Townhall.com looking for columns to mock, I came across the following banner advertisement:



Oh, joy, some new screed by Ann Coulter. I can't wait.

I found the actual copy within the ad kind of intriguing, I must say. Let's try to read between the lines.

"Completely Original"

So, unlike some of her colleagues on the right, Ann promises that she didn't just cut and paste P.J. O'Rourke and Jonah Golberg columns and pass them off as her own writing. Good to know.

"Thoroughly Controversial"

Still chock full of racism and factual errors.

"Entirely Confidential"

See, this one's hard to get a handle on...How can a book be "entirely confidential"? She's publishing it, right? Anyone with a penchant for poorly-written virulently xenophobic rhetoric is free to pick up a copy and read the entire contents and his or her leisure. So it's not "entirely confidential." Quite the opposite, it's "available for public scrutiny."

Perhaps the ad means that Coulter won't announce a title or topic for her new book until it is released, kind of like when they don't let criticis review a new movie until it opens. She probably knows that everyone in the media who doesn't work for Fox or the Washington Times can't wait to pick apart every inaccuracy and outright flasehood that will surely permeate her new work, so releasing even its broadly-stated subject months before release would be a poor marketing strategy.

(Just look what happened to Ramesh Ponarru when he announced simply the title of his new book. I mean, granted, it's an incredibly dumb title, but I can understand why someone might be nervous about announcing their eliminationist manifesto's topic too soon).

What could the new Ann Coulter book cover that's so shocking? She's already called for the forced conversion to Christianity of millions of Arabs, insulted and slandered the Clintons and John Kerry and Howard Dean in every conceivable fashion and called for the execution of those on the opposite end of the political spectrum. We're talking about a woman so debased and ignominious, even Bill Maher pretty much keeps his distance these days. Bill Maher. A guy who hangs out at the Playboy Mansion so frequently, he's got his own locker in the Grotto.

Here are some possible titles:

Frisson: Ranting Against Traiterous Democrats Publicly Gives Me Intense Sexual Release

Sabotage: Why Diebold Will Have to Keep Stealing Elections Until You All Start Voting Correctly

Reason: Treacherous Liberals Using Rational Thought to Screw With Real Americans

Decapitation: A Guidebook for Secretly Lopping Off Harry Reid's Head Late at Night Without Anyone Being the Wiser

There IS Nothing Worse Than a Woman Know-It-All

Ugh...Sickening footage here, dug up from somewhere by Harry Shearer on HuffPo, of Chris Matthews and Tom DeLay bantering before going on the air on "Hardball" this week. Quite a bunch of specimens we've got here.

The clip begins with Matthews fawning over DeLay, thanking him profusely for coming on his program. It's an attitude that's somewhat different from the one I had come to expect from a journalist. He doesn't sound like a guy who's about the press this elected official for the truth. He sounds like an underling, a serf, a guy supplicating to a more powerful man. At best, they sound like old pals.

MATTHEWS: Hey thank you for calling me. It was a good thing for me, mostly.

DELAY: Oh really.

MATTHEWS: Oh of course it was. We got on the air as fast as we could....

Can you imagine Redford and Hoffman in All the President's Men treating politicians this way? "Oh, geez, Chuck Colson, thank you so much for talking with us. The guys back in the newsroom won't believe it. So, all your political opponents, are they bottom-feeding degenerate commie fag scumbags or what?"

It's also kind of amusing to picture Chris Matthews waiting by the phone like an impatient 14 year old for super-cute Tom DeLay to call and ask him to Sadie Hawkins.

Anyway, after the ritualistic humbling of the Host before the Former Exterminator Turned Jesus-Themed Opportunist, we proceed to the two men discussing a poll of Democratic presidential hopefuls.

CM: ...and Hillary did not do well. Kerry did well.

DELAY: You're kidding.

MATTHEWS: I am NOT kidding. They didn't like Edwards -- they thought he was a rich lawyer, pretending to care about poor people...

DELAY: Too slick. Too slick.

MATTHEWS: ...and Hillary was a know-it-all.

DELAY: Nothing worse than a woman know-it-all.

You said it, Tom. Women should not try to be president. They should be content to hang out in their cage, occasionally clean up after you and get sodomized when there aren't any attractive goats around. Why do all these women want to learn things and achieve and move up in the world? It's so tiresome.

And after the questionable political analysis and rampant mysogeny portion of the pre-show countdown in completed, Matthews goes back to groveling and bowing before the altar of soon-to-be-convicted-felon Tom DeLay. Seriously, this guy sounds more like Grima Wormtongue than a host on MSNBC.

MATTHEWS: Thanks. I owe you one. I owe you two -- today and last night.

DELAY: No you don't.

MATTHEWS: No, I do.

DELAY: I appreciate it.

I owe you? I fucking owe you? And how does Matthews propose he will pay back this debt? Through positive coverage of DeLay? A briefcase full of money? A reach-around? What are we talking about here? DeLay quits politics in shame, appears on "Hardball" to cover his own ass, and Chris Matthews acts like he's being visited by the Virgin Mary!

"Oh, Tom DeLay has appeared before me! Great is the wonder and glory of the Universe! And now we shall have a feast, the grandest feast ever to be assembled in the halls of man, with ambrosia and turducken and maybe even those little cocktail weenies served on the toothpicks! Truly this is the most blessed and awesome day in my entire life! To have an icon, nay, a God like Tom DeLay in my very own studio! I AM NOT WORTHY! TELL ME THY BIDDING, O GREAT ONE, AND SURELY IT WILL BE DONE THIS VERY NIGHT! I AM YOUR FAITHFUL SERVANT, CHRISTOPHER MATTHEWS! COMMAND ME, LORD!"

Seth MacFarlane: No-Talent Assclown?

Tonight's new episode of "South Park" apparently will go after "Family Guy" and its creator, Seth MacFarlane. From South Park Studios:

"Cartman and Kyle are at war over the popular cartoon, 'Family Guy.' Kyle loves 'Family Guy' and hates Cartman. The two boys embark upon a mad chase across the country and the fate of 'Family Guy' lies with the first boy to reach Hollywood."

Yikes. I'm sure this entire episode will be very mean.

Most likely, Matt and Trey will indict the popular cartoon show for a lack of originality. It's a pretty familiar argument against the Chronicles of Peter Griffin, probably because some of MacFarlane's rip-offs are blatantly obvious.

The entire structure of his show practically reeks of "The Simpsons." A stupid Dad and his endlessly patient and tirelessly devoted wife raise three children - a boy, a girl and a precocious baby. Also, and I hadn't been aware of this until just today, when WWTDD brought it to my attention, the character of Stewie appears to be entirely lifted from a comic by Chris Ware, dating back to three years BEFORE the initial debut of "Family Guy" on Fox. Check out this panel from Jimmy Corrigan: The Smartest Kid on Earth.



Wow, that is pretty damning stuff! I mean, it seems from this excerpt that Jimmy genuinely loves his mother, while Stewie wants only to murder his mother and get away with it, but otherwise the characters are identical.

In fact, there's a whole blog devoted to picking out all the stolen jokes and references from "Family Guy." (Not all of Family Guy Steals blogger Randy's citations strike me as particularly convincing that Seth MacFarlane is a dirty thief, though...At one point, he claims family dog Brian is a direct rip-off of Snoopy, which would be a really hard character to rip off considering his massive international fame and popularity.)

I'm kind of split on this issue, personally. I have no doubt that Seth MacFarlane takes ideas from other TV shows, movies and stand-up comics. I'd go so far as to say that he's particularly poor with inventing funny characters or scenarios, actually, and probably needs to borrow high-concepts and funny set-ups pretty frequently to create an entire TV show.

I like a lot of "Family Guy" episodes, but it's a show that lives and dies with the jokes. When the show hits the mark, makes a great pop culture references or throws in a surprising bit of raunch, it can be absolutely hilarious. An early episode featured a courtroom scene, and the camera darts around capturing everyone's reaction to the verdict. Three or four characters shout "Oh NO!" and then the Kool-Aid pitcher guy bursts through the wall and yells his trademark "OH YEAH!" Seeing that he's come at an inappropriate juncture in the story, he then backs slowly out of the room. Brilliant.

Viewers don't come back because of the great characters and funny stories. It's just the jokes. But I kind of find this entire "talentless rip-off artist" argument less than compelling for a few other reasons, too.

(1) Everybody rips off everybody

Matt and Trey have admitted this very thing on "South Park." Remember the episode about how "The Simpsons" has already come up with every good plotline? A fact that drives Butters, obsessed with devising an evil plan to destory South Park, utterly insane? The entire show explained how originality derives from the spirit of the enterprise and the individual ideas and jokes, not from some gimmicky plot that has been used by movies, TV shows and books for decades.

I don't know...Maybe "South Park" tonight will focus on different "Family Guy" flaws (like how the latest batch of episodes haven't really been as good as the early days of the series, or even the few shows right after its return). But it will be a bit hypocritical of them to state that they're allowed to borrow from "Simpsons" stories while MacFarlane has to be totally original.

(2) Family Guy can be really really funny

I'm sorry, the show is just really clever at times and there have been some really classic moments. Not to mention that, for a show on Fox, it really does push the envelope in terms of language, adult references and sexuality. I mean, there's a recurring pedophile character who's attempting to seduce Chris Griffin. You won't find that on most TV shows. (Even "South Park" limits its pedophile jokes to individual episodes, like the classic NAMBLA episode).

(3) There's no way to tell if similar jokes are stolen or merely coincidental

Last year saw the release of that Johnny Knoxville film, The Ringer, which shared a plotline with a "South Park" episode. Knoxville played a regular guy who posed as retarded in order to compete in The Special Olympics, which as you'll all recall, Cartman had done the previous season to regrettable results.

There was much talk about the Knoxville movie ripping off "South Park," until it came out that the Knoxville movie had a script and had been in pre-production several years before that "South Park" episode ever aired or was even conceived.

Now, did Matt and Trey read the script for The Ringer that was floating around town, and then rip it off before the movie had a chance to debut? Or was it merely a coincidence, two epople in the same town thinking of the same idea within a few years of one another. I'm inclined to go with the latter.

These past few weeks, as I have been attempting to conjure up a brilliant comedy script idea, I have stumbled accidentally upon other people's work several times. I thought I had devised the most incredibly awesome high-concept comedy ever...Someone like Jack Black would star in the story of the American competitive eating champion (you know...one of those guys who competes in eating contests). After winning the title easily for years, he is suddenly and shockingly bested by a tiny Japanese man with an inhuman stomach capacity. His reputation shattered, his confidence lost, the American eater decides there's only one way to restore him to glory - to venture to Japan and take the Japanese title away from his opponent!

I was so excited when I had this idea, I could barely contain myself. Unfortunately, I was soon to be informed that a script with a similar story is already out there making the Hollywood rounds. (I don't know if they have the Japanese angle or not, which is really my favorite part of the idea, but there is definitely already a competitive eating movie out there).

Now, I didn't rip off this other script. We just had similar thoughts. Because there's only so many possible funny stories out there, and everyone in this town is so desperate for the Next Big Concept, they're bound to come up with the same stuff. That's just life. There's too many goddamn people around.

Monday, April 03, 2006

Two With Carole Lombard

On Tuesday, Universal releases 3 collections of 30's films from Marlene Dietrich, Mae West and Carole Lombard. But while the Dietrich discs include established classics Blonde Venus and Golden Earrings and West's set includes My Little Chickadee, the Lombard films are all small, forgotten little romantic comedies of varying quality.

I watched two of the films on the set, both featuring Fred MacMurray (best known to modern audiences from "My Three Sons" or maybe The Absent-Minded Professor) as her comic foil. One was really terrific, an overlooked screwball gem, and the other was ridiculously awful. I have no way of knowing how this bodes for the four other movies on the set I didn't get to check out. (Those, by the way, would be Love Before Breakfast, Man of the World, The Princess Comes Across and We're Not Dressing.)

Hands Across the Table



A film of considerable charms, Hands Across the Table lacks only the maniacally sharp wit of Preston Sturges, the Master of the Screwball genre. In just about every other way, this is as good as screwball gets, a wry and even insightful farce about the relative merits of marrying for money vs. marrying for love.

Lombard plays impoverished manicurist Regi Allen, determined to meet a wealthy husband via working on nails. It seems, to me, a poor choice for a girl looking to meet lots of men. I mean, manicurist? Aren't you going to meet 50 times more women than men at that job, even in the late 30's? I suppose, on the bright set, it's a fairly exclusive group of men who stay in fancy hotels and then call downstairs for manicures, so at least you're filtering out all the broke slobs.

So does manage to impress the rich but differently-abled Allen Macklyn (Ralph Bellamy), but doesn't really consider him a genuine marriage prospect. (As played by Bellamy, he's kind of creepy. I can imagine an alternate version of this film, directed by Alfred Hitchcock, in which eh secretly plots to murder Regi and hide her body in the false bottom of his wheelchair.)

Unfortunately for her financial prospects, Regi quickly blows off the goofball Theodore Drew (MacMurray), finding him dreadfully unserious, before realizing he's the heir to a massive family fortune.

Due to circumstances it's not at all neccessary to elaborate on, Drew will come to stay in Regi's modest apartment, Macklyn will come to propose marriage, and everything will find a way of working out. Lombard and MacMurray have so much genuine chemistry here, however, that the movements of the story matter very little. The bulk of the film is taken up with the friendship between Regi and Ted, how their manic energy and self-absorption compliment each other perfectly.

As I said, the writing (by Norman Krasna, Vincent Lawrence and Herbert Fields) doesn't reach the sublime heights of The Lady Eve or My Man Godfrey, but perhaps this isn't a fair standard. It's far wittier than the average Hollywood comedy, and Lombard and MacMurray deliver the dialogue with exuberance and relish. One memorable exchange:

TED: My grandfather was a pirate, you know.
REGI: Honest?
TED: No...He was a pirate.

Okay, maybe you had to be there.

Anyway, these two are a real treat to watch together, not just a cute, charming couple, but an intelligent and fiery one. Which is why it's so surprising that their team-up in True Confession, only a few years later, was such a dud.

True Confession



Universal has dubbed these three sets of movies The Glamour Collection. It makes sense for Dietrich, certainly, and Carole Lombard was certainly a beautiful woman. But she's not exactly "glamorous" in these films. Instead, she brings a combination of girl-next-door relatability with a surprisingly rough edge sharpened over years of living in the Depression-era Big City. In Hands Across the Table, she has become hard and bitter, determined to enter a loveless marriage to avoid having to work on nails forever.

In True Confession, she's a housewife who's sick on living on her husband's meager salary, and in the course of trying to find work, she's lured into the apartment for a sex offender, who is then murdered after she flees to safety.

I mean, hey, it was the 30's. Times were tough. But, still, it's not exactly glamorous.

And though the movie's a waste of time - a comedy that's never funny, featuring some really over-the-top vaudeville-style schtick in place of actual humor - Lombard nonetheless does nice work as Helen Bartlett. A pathological liar, married to an uptight defense attorney who only represents the innocent (MacMurray again), Bartlett's as desperate as she is unpredictable. The performance is essentially note-perfect. We root for Helen even though she's pretty much a complete idiot who's married to an even larger idiot.

The story gets increasingly convoluted without ever building up any momentum as farce. Helen, suspected of the murder of her sleazy near-employer even though she had already fled the scene when he was killed, pleads guilty hoping for mercy from the court. And, of course, she can't reverse her testimony to tell everyone the truth, because her husband hates a liar! Meh...as a set-up, it's kind of thin.

But what really makes True Confession excruciating is John Barrymore, hamming it up as an egomaniacal drunk who watches Helen's trial unfold. For those not up on your 30's Hollywood trivia, Barrymore had been the biggest stage star of his generation, known as The Great Profile because of his striking good looks. But years of alcohol abuse (Barrymore hung out with Errol Flynn, the most notorious drunk in Hollywood history!) left him, by the late 30's, pretty much a physical wreck. He looks twice his age in True Confession, and would die five years later. And he's playing a ridiculously stereotypical "wacky drunk." It's just...grim.

I know that the makers of True Confession couldn't have known Barrymore would actually die from drink in five years. But they surely must have known that the character cut a bit close to home. I mean, Charley wouldn't be funny even if played by a man who never touched the stuff. It's just a dumb character with no purpose in the larger story. He stumbles around, makes an ass out of himself, repeats his unfunny prediction that Helen will fry, and then wanders off-camera. Why even bother?

So, okay, if you happen upon the Carole Lombard collection, might want to skip True Confession and go for Hands Across the Table. That is all.

Wolf Creek

A psycho killer movie reduced to its simple essentials, Wolf Creek hardly sets out on an ambitious path. We've seen this exact story re-enacted so many times at this point, changing only the specific nature of the murders and the location, audiences have internalized the narrative. For some reason, people enjoy seeing this scenario play out repeatedly...Relatable innocents, stranded in some unfortunate predicament in an isolated location, surrounded by locals of questionable motive and hygiene standards, find themselves the victim of a kill-crazy maniac.

For children of the 80's like myself, it's perhaps the single most iconic cultural cautionary tale. Don't behave in a cavalier, horny or dopey fashion while on a road trip, or you'll be eviscerated by homicidal rednecks or some such thing. Tobe Hooper's Texas Chainsaw Massacre, the granddaddy of the genre, remains the king of the Road Trip Gone Horribly Awry genre, but new entires continue to delight based largely on the creativity of the gore the physical attributes of the young stars.

Wolf Creek brings just enough innovation to the table to succeed, and not a bit more. The story of three unfortunate hikers who find themselves the subjects of all manner of brutality during an ill-fated trip into the Australian Outback brings exactly two original elements to the genre: a killer who dresses and sounds like Steve Irwin, the Crocodile Hunter, and the remote and menacing Outback setting.



If there have been previous Australian films to use the Outback as a horror film setting, I have not seen them. It's such a good idea, I'm kind of amazed no one has thought of it before. Desolate fields that stretch endlessly into the horizon, complete isolation save for toothless "bushman" locals and the occasional emu and mysterious "ghost towns" dotting the landscape add up to the ideal environment for the ritualistic kindapping and torture of good-looking youngsters.

Peter Weir observes in films like Picnic at Hanging Rock how the rugged Australian landscape makes a poor fit for the dress and customs brought over from Europe, and with Wolf Creek, writer/director Greg McLean expands on this idea: The Outback is a poor fit for any civilized person, European or otherwise. And considering that his harrowing film is based on a real series of murders in Australia in the late 1990's, perhaps he's right.

Liz, Kristy and Ben venture into the enormous expanse that fills the center of their continent in the course of a road trip to Sidney. (The trip will take three weeks). Along the way, they goof around, drink heavily, occasionally sleep with one another and stop to take in day-hikes at various National Parks.

Brits Liz (Cassandra Magrath) and Kristy (Kestie Morassi) exhibit exactly the kind of free-spirited, open behavior that gets you into trouble in these kinds of movies. When their companion, Oz native Ben Mitchell (Nathan Phillips), suggests a 3-hour hike to Wolf Creek Crater, it's pretty obvious to anyone save the three characters what's coming around the bend. I suppose in some ways the inevitability of the narrative in these movies is part of the joy. We know, as we get to know Liz and Kristy's personalities, that they will soon be brutalized before us, but that at least one of them will most likely survive, giving us a kind of power trip over everyone in the film.

But still, I think Wolf Creek takes a bit too long to get to the hack-and-slash stuff. Clocking in at a full hour, the goofy road trip comedy segment gets a bit grating as it goes on. After about 20 minutes, we have about as much insight as we're ever going to get. Much of the film's mid-section feels like an excuse to shoot the admittedly impressive Wolf Creek Crater. Not to mention that the film's most interesting character, professional hunter and all-around kook Mick Taylor, only winds up with about 35 minutes of screen time as a result.

As Taylor, John Jarratt really plays up the silliness. His ridiculous chortle becomes a kind of trademark by the film's end, along with his brutally frank, cold-blooded sense of humor. It sounds terrible, but in the context of the film, it really works, if only for the entertainment value of seeing a Down Under stereotype turned on its ear. Jarratt doesn't go for camp, but something approaching satire. He gets away with his nefarious crimes because people trust him - what tourist doesn't want to take an adventure with Crocodile Dundee? (Look out for a classic Paul Hogan catch-phrase to make a late appearance).

The deaths themselves don't really compare with the outrageous gore-for-gore's-sake of a film like Hostel, a movie that's superior in just about every way. But they're suitably disgusting to please the standard horror fan, particularly a crucifixion, a mode of killing that's making a big comeback in horror movies of late. Thanks for that one, Mr. Gibson!

The Chronicles of Narnia: The Lion, The Witch and the Wardrobe

Jim Broadbent rules. What a fantastic actor. He's in approximately two scenes of The Chronicles of Narnia, and they are the only ones that actually make sense, the only ones with real humanity and the only occasion in which the movie ceases to feel like a bad special effects promo reel designed for young children.

Now, I should say that I completely and totally disagree with the sentiment expressed in Broadbent's scenes. As the wise but eccentric professor who takes in four children displaced by the horrors of WWII, Broadbent makes an open and outright case for the nobility of faith. Young Lucy Pevensie (Georgia Henley) claims to have found a passageway to the enchanted realm of Narnia in the back of a wardrobe, and of course her siblings don't believe her.

"But why wouldn't you believe her? Is she a liar?" asks Professor Kirke. "She is your sister!"

The analogy shouldn't be too difficult, even for the kids in the audience. Faith is about letting go of your narrow skepticism and embracing an ideology because it feels right, and because you are part of a community of believers. As an atheist, I find this kind of groupthink fairly repugnant. The other Pevensie children are absolutely correct in thinking that Lucy is crazy. She says she's found a trail in the back of a goddamn closet that leads to a magical forest inhabated by goat men! If the other children had said, "Oh, Lucy, sounds like you 'ad a merry old time! Let's all go have a look!," that wouldn't bode well for the Pevensie gene pool.

But my point (I do have one) is that the scene works because it has something to say, and because Broadbent brings a mysterious but warm affability to his scenes with the children. The rest of the film feels rote in comparison. Andrew Adamson, like Chris Columbus in his Harry Potter adaptations, seems excruciatingly terrified of upsetting fans of his source material, so he lumbers along, content to "recreate" memorable scenes from the first book of C.S. Lewis' Narnia series rather than turn the series into anything engaging, provocative or cinematic.

I've heard conservative religious types claim the film as their own, as the ideological and social follow-up to Mel Gibson's Passion of the Christ. But, honestly, the film's far too dispassionate to make this case. You have to be about something in order to represent a political or ideological viewpoint, and the only thing Chronicles of Narnia seems to express is a desire to have a big opening weekend so that the suits at Disney will greenlight some sequels. Lewis' stories work not only as rather clunky religious metaphors, but as entertaining (if sometimes rambling) fantasy/adventure novels in their own right. You'd never know that from the movie, which consists of three equally-obnoxious modes: shrill kiddie fare, poorly-shot spectacle and creepy Christian allegory.



Back to the story...

Lucy goes through the wardrobe and meets a faun named Tumnus (James McAvoy, mostly forgettable) who is very friendly and invites her for tea. He's terrified of the White Witch (Tilda Swinton in an embarrassing, self-conscious turn), who has kept Narnia locked in Winter for 10 years. When Lucy's siblings stumble through the closet themselves, Peter (William Moseley) and Susan (Anna Popplewell) meet up with their rogue sister and a friendly beaver (voiced by Ray Winstone), while Edmund (Skandar Keyes) comes under the spell of the White Witch. The stage is set for a showdown.

These sequences (well, everything up to the CG talking beaver) start things off sufficiently, even if it takes a bit too long to explore any of Narnia beyond Tumnus' modest cottage. The actual enchanted woods set looks terrific, blanketed by powdery snow, but also kind of plain for a big Hollywood fantasy film.

Coming off of the craggy New Zealand landscapes and epic proportions of Peter Jackson's Lord of the Rings movies, the Land of Narnia feels like a letdown. Pretty woodland scenes and rolling green hills are no match for the mines of Moria or Minas Tirith, and we never even get to see a real Narnian city. In fact, Narnia doesn't really seem very big in the film, and it's not big on elaborate natural wonders or bustling urban centers. We're told the land extends from a random lamppost in the woods to the Witch's castle in the mountains, but what lies beyond the limits of Narnia? And shouldn't there be more citizens of Narnia around? Pretty much every character we meet along the way already knows one another and lives alone and isolated in a small, modesty-appointed home.

Once the story kicks into high gear, with the introduction of titular feline King Aslan (voiced by Liam Neeson) and the Christ allegory, Narnia pretty much collapses under its own weight. Adamson has the unenviable task of opening with very childish sort of material - games of hide and seek and tea with Mr. Tumnus - and closing with, seriously, an exact recreation of the story of Christ's crucifiction and resurrection featuring talking animals. It doesn't even come remotely close to gelling together as a film. Not by a long shot. I've come closer to sinking a shot from half court at the Staples Center than Adamson comes to hitting the Narnia mark.

I haven't read Lewis' original books since I was maybe 10 years old, so it's hard for me to pin down whether the whole Narnia thing is silly in and of itself or whether Adamson's adaptation has made it seem silly. Most likely, the books hold together because Lewis had a vision and a conception of this place that comes through in his prose. He understood not only the mechanics of Narnia, but its native spirit. And he should know why a place like Narnia needed to exist! He invented it!

Director Adamson fails to demonstrate any sort of real vision for the material. His Narnia has no personality or life of its own (in addition to its apparent underpopulation problem). Not only isn't it a place I'd like to go, but it's a place that I still don't really have a feel for one way or the other. I can't imagine what life might really be like there at all, as events seem to merely unfold in front of our heroes.

I think part of the problem is that Lewis' story relies so heavily on the animal kingdom and by-now cliched mythological beasts for characters to fill up his world. Reading about centaurs and lions and minotaurs and badgers and unicorns fighting a huge battle for the fate of the world is one thing. Seeing that concept rendered using computer-generated effects and shot as an action sequence is something else entirely. And that thing is ridiculous

A word about those special effects. They're terrible. I noticed the crappy effects technology early on, when Swinton's White Witch magics up some delicious Turkish Delights to seduce young Edmund into evil. She takes out a vial of liquid and gingerly sprinkles it on the ground, where magically Turkish Delights then appear! Using the same technique used to animate the Fairy Godmother's magic in the ABC-Family Channel original production of Cinderella. I mean, the snow whips around into some kind of blurry swirl and then suddenly there's a platter of Turkish Delights? That's the best an entire squad of effects artists could produce in 2006? Didn't some of the WETA Lord of the Rings team work on this bitch?

I mean, at the end of the movie, we're talking about large-scale action scenes featuring warrior Minotaurs. That should look kind of cool, right? Instead, the minotaurs look like College Basketball mascots. The entire final battle sequence, which by the way has no real repercussions for either side and thus makes no logical sense, lacks for clairty and intensity, for substance and consequence. It's just storybook characters running into one another at high speed, like an explosion at Scholastic headquarters.

Once all this noise and flash was finally over, I realized I'd have been much happier overall watching a film about Professor Kirke and his several months spent as acting guardian of the Pevensie children. Broadbent's performance, the ominously large mansion, the sassy head servant woman...it would be an exploration of the meaning of faith and family, and a cool WWII-era period film to boot. Sounds alright. Instead, we get Tilda Swinton dressed as an Ugg boot, horse-men with axes and bad facial hair, and a martyred fox that sounds like Rupert Everett. If it's all the same to you guys, I think I'll skip Prince Caspian.

Sunday, April 02, 2006

Your Batshit Insane Quote of the Day

Referring to a wave of demonstrations in recent weeks, Rep. Virgil Goode of Virginia said, "I say if you are here illegally and want to fly the Mexican flag, go to Mexico and wave the American flag."

http://www.sfgate.com/cgi-bin/article.cgi?f=/n/a/2006/03/30/national/w141912S10.DTL

But...wait...Rep. Goode...I want to fly the Mexican flag. Why would I go to Mexico and wave the American flag? First off, I don't want to "wave" a flag at all. That's totally homo unless you're actually in the process of fighting a war during the flag-waving, and it's being used as part of an important semaphore communication to headquarters. I want to fly a flag, which is far more patriotic, manly and socially acceptable.

But more importantly, I don't see the sense in someone wanting to fly a Mexican flag who goes to Mexico and flies an American flag. Please explain.

Saturday, April 01, 2006

Actual Items

Some news stories I wanted to share, which despite the date today, I totally swear are genuinely for real...Really...

VICE-PRESIDENT CHENEY ACCIDENTALLY KILLS AND DEVOURS FAMILY OF FIVE

LAWRENCE, KANSAS -- Failing to alert the authorities about the incident for over 14 hours, the Vice-President allegedly murdered and ate the five members of the Clarke family in the den area of their ranch-style home 10 miles outside of Lawrence Thursday.

Citing "confusion" and stress due to his incredibly hectic work schedule, the Vice-President claims to have accidentally stumbled upon the Clarke home during a one-week trip to the Heartland to defend the administration's increasingly-troubled reputation. An intense schedule that day, coupled with the distraction of placating the chorus of negativity on the left blogosphere, rendered the Vice-President incapable of telling the difference from the Clarke home and a local Bob's Big Boy, where Cheney was set to meet with several advisors and staff members.

"The Vice-President simply didn't realize what he was doing when he bound and gagged the Clarkes and forced them to watch him slit their father's throat, dismember his still-vibrating corpse and suck the marrow out of his shin bone," said Lawrence sherriff's deputy C. Kurt Deutschwaller. "It's the sort of mistake that could happen to anybody."

Early reports that the Vice-President might have been high on angel dust during the incident have yet to be confirmed.

"I can say that the Vice-President might have snorted some angel dust earlier that morning," said a high-ranking Cheney advisor who wished to remain anonymous. "He had been complaining of a headache. But I don't think he would have been on anything during the unfortunate events in Kansas, for which he has repeatedly stated his sincere regret."

Right-wing talk radio and blogs have already rallied to the Vice-President's defense in the immediatel wake of the incident.

"I wish some of these morons on the left, the feminazis and America-hating professors, could understand that...I mean, this man works hard," Rush Limbaugh commented on his popular syndicated call-in show. "He's out there every day on the front lines, fighting this War on Terror, ridding the world of hatred and oppression. And if, occasionally, in the course of protecting America, he's forced to butcher and consume some random family in order to obtain their precious, mystical life energy...well...I say, so be it."

TERROR TO RULE THE 2006 BOX OFFICE

HOLLYWOOD, CA -- In the coming year, Hollywood will be all about Terror. The War on Terror, that is.

Many new films will show the world "the lighter side" of America's bloody international campaign to stamp out evil Islamo-fascism.

"In the immediate aftermath of 9/11, people weren't really ready to hear from the artistic community," says Oliver Stone, director of the upcoming World Trade Center. "But now, I think people are ready to embrace large, faceless media conglomerations capitalizing on the largest terrorist attack on U.S. soil in our history. It's just that time."

Paul Greengrass, whose film Flight 93 will recreate in as realistic a fashion as possible the deaths of the passengers of the doomed title airliner, concurs that America is ready for entertainment dealing with the September 11th attacks.

"Holy shit, wait until you see the box cutter fight we've put together for this bitch," says Greengrass. "It totally blows away the Daryl Hannah fight from Kill Bill 2."

Joining Stone and Greengrass' films on the 2006 slate are other prominent features about America's military expedition in the Middle East:

  • In Clerics, Kevin Smith's charming recurring characters Jay and Silent Bob find themselves appointed as mullahs to a large Riyadh religious school. Wackiness ensues as they pass a variety of outrageous fatwas and call for a jihad against DC Comics and Reese Witherspoon.
  • Ron Howard's The Da Vinci Code Violation stars Tom Hanks as an innocent Afghan arrested for wearing a T-shirt bearing the image of the Mona Lisa. Branded "obscene" by the Afghan Constitution, Hanks' hapless prisoner (a role for which he practiced daily with a speech coach and lost 75 pounds) faces 20 years in jail and the severing of his pinkie toe.
  • The futuristic political thriller A for Ayatollah imagines a dystopia in which the Shah of Iran rules Britain under a cruel totalitarian regime. Only Hugh Jackman, as a tenacious rebel in the King mask from those Burger King commercials, can overthrow the government and restore balance.
  • The children of The Chronicles of Narnistan are shocked to discover that an old wardrobe in their uncle's country house leads directly into the wartorn streets of Fallujah. Unable to find a magical piece of furniture capable of returning them home, or at least to the Green Zone, the children have no choice but to convert to Islam and join the insurgency, eventually taking part in a seige on a shrine formerly controlled by the Iraqi police.
  • In an added scene short after principal photography completed, an additional sub-plot has been grafted on to the Samuel L. Jackson thriller Snakes on a Plane, in which the deadly assassin snakes are activated by the oddly soothing flute music of a Persian snake charmer.

GRAPE NUTS STILL DISGUSTING, PANEL DECIDES

TOLEDO, OH -- Despite the theory that Grape Nuts eventually start to seem delicious once you acquire a taste, a panel of experts declared that Grape Nuts are and will always be completely disgusting this week.

"I'm sorry, but they have the exact same consistency and texture as gravel," said panel member and certified flavorologist Pam Weatherby. "Who thought that sounded appetizing? Isn't there an old Saturday Night Live sketch about rock cereal? Did they not realize that was a joke?"

Among the complained cited by the group were (1) the rock-like texture of Grape Nuts, (2) the misleading title, considering that the cereal includes neither grapes nor nuts, (3) the fact that Grape Nuts have absolutely no flavor whatsoever and (4) a comparison of Grape Nuts to actually delicious cereals like Cheerios, Rice Krispies and Captain Crunch.

"When you have a taste of Captain Crunch, it becomes immediately obvious how lacking Grape Nuts are in just about every way," Weatherby replied. "Unfortunately, we just released a study in 2004 about how they cut the roof of your mouth when you eat them too fast. There are many factors to be considered, when dealing with cereal. That's why this is such a hard job."

GOOFY FAT GUY AT YOUR WORK DEEPLY SAD INSIDE

NEWPORT NEWS, RI -- Your jolly, overweight co-worker, the one who always shows up in Hawaiian shirts and enthusiastically relates anecdotes about last night's re-run of "Battlestar Galactica" secretly hates his life and dreams of the sweet release of suicide, according to a report released Monday.

"Everybody likes Gary, because he tries to make work a little bit more pleasant," said Bill Marsh, who works down the hall from you in Speciality Referral. "I'm surprised to find out that sometimes, when no one else is around, he practices knot-tying, in case he ever wants to hang himself from the rafters in his attic."

Deflecting the deep-seated depression he has struggled with since his late-teens, Gary does his best to maintain a positive, animated attitude. A huge fan of "The Simpsons," "Chapelle's Show" and "South Park," he'll often regale co-workers with verbatim performances of some of the series' most beloved bits.

"Once, Gary has us in stitches for a whole hour, by doing this whole Chappelle bit about a family with the unfortunate name of Ni--...Actually, maybe I shouldn't tell this story," said a co-worker who wishes to remain anonymous but who I might as well tell you was Dorothy Tidwell.

When asked about the source of his crippling ennui, Gary cited the divorce of his parents when he was 10, his chronic loneliness and the untimely cancellation of Joss Whedon's "Firefly" after only a single season on Fox, during which it wasn't even shown in proper chronological order.

Living With It

In the 10 years since I moved out of my parents house, I have shared rooms, dorms and apartments with a variety of interesting people. Most have been close friends, and though there are obviously ups and downs in every living situation, I can honestly say that living among close friends has been, for the most part, a joy.

But living with strangers and random acquantances...That can be a different story. Just tonight, a guy I barely know who moved in here two months ago after meeting my former roommate Nathan on Craig's List moved out of the apartment. Tomorrow, two new guys will move in.

So get a load of this...This dude, who we'll call Mr. E, because that letter's in his name, he finishes moving out while I'm at work. I get home, he's already gone. Whatever, that's fine. Like I said, it's not like I had a chance to get really close to the guy. He only lived here two months. (Plus, he was weird. Sometimes, I'd walk by his room at night and he'd be listening to 80's power ballads and singing in a really high falsetto over the track.)

Anyway, I get home, there's no note or anything. The only way I know he's gone for good is that he left his key buried under some envelopes. And he left the sink full of dirty dishes, almost all of which were covered in his cooking.

I'd like you to stop and consider this for a moment. It means the guy made sure to wash and pack up all the cookware that might have belonged to him, leaving everything else dirty in the sink despite the fact that he had been the last one to use it all.

What a dick. I mean, I know that we'll probably never see one another again or communicate in any way, so he can basically burn me consequence-free...but why be that guy? Why be the guy who screws over former roommates just because he can? It sucks to be that guy.

Not to mention the fact that, the other day, he clogged up the garbage disposal for the second time since he's lived here. He was always shoving inappropriate items into the garbage disposal. Once, we caught him sticking whole orange peels in there.

"Mr. E, why would you do that?"

"It's good for the garbage disposal," he replied. "Keeps it clean."

Yeah, he was an idiot. So, anyway, these guys are going to move in tomorrow to a place with a broken garbage disposal, which I realize is lame. But it's too late to back on now...We've got rent due in a few days.

And now that I'm reminiscing about my short-term roommate Mr. E, I'm reminded of the oddest dude with whom I've ever shared living quarters...

A. Butt

I don't want to give out his first name, because if this dude ever Googles himself, I don't want him to be able to track me down. But his first name started with A and his last name was really, actually "Butt," spelled like your ass.

Why would you keep this as your last name? It's probably the worst last name of all time. It doesn't matter what your first name is, if your last name is "Butt," you have a really funny name. Guaranteed. But having your first initial be "A" just makes it that much worse. Change your name to anything, dude. Oscar P. Worcester. Roderick Quincy Finklestein. Baron von Skelderbergingfitzenhughdouchebucket III. Anything but A. Butt.

And he was a total weirdo as well. I mean, just a strange, doofusy kind of guy. He used to write really bad rap songs where he'd make up all his own slang, which made no sense. So he'd rap for you, and half the time you'd be thinking about how funny it was that this unbelievably white-bread dork was rapping, and the other half of the time you'd be trying to puzzle out what he was saying because it was wall-to-wall nonsense.

Anyway, just a real wacko. I guess it was a good experience, right away at college, getting to know a crazy guy. Preparation for all the other crazy people you'll be forced to live around and on top of for the next several years.

Thursday, March 30, 2006

Why is the LA Times Running With This Racist Trash?

It's very difficult to kickstart a career in freelance journalism. I've tried. You send out tons of clips, everything you've ever written that has been published anywhere that's worth a damn. Usually, publications large and small will simply ignore your work. Out of desperation, about a year ago, I actually wrote personal letters to editors at a variety of publications that had ignored submissions by me over the years.

Rather than asking for work, I simply asked what these editors would recommend to a person with some limited experience in journalism who wanted to start working freelance. Across the board, I was greeted with negativity, pessimism and, in a few cases, extreme condescention.

An editor from the perfectly-awful Los Angeles local City Beat told me that, in order to get work as a freelance writer, I would need to "intern" somewhere for a good while. To paraphrase, I should go slave away in some newsroom doing menial work for a year for free in the hopes that some kindly editor would throw me some piece-of-shit assignment for peanuts that I could then send around to be ignored by editors at publications large and small. Gee, thanks!

I suppose at least she was honest...Her entire job at a small local paper is about finding talented writers who will turn in interesting, important stories, so she automatically turns away any and all newcomers who aren't personally recommended to her in as mean-spirited and hostile a manner as possible. But she didn't string me along...There were no illusions that my inquiry would get me anywhere.

So, that's a long lead-in for a relatively simple question. Considering that it's so hard for writers of any stripe to make a name for themselves and get something published in a paper the size of the Los Angeles Times, then why are they running ignorant racist commentaries by idiots like The Doughy Pantload a.k.a. Jonah Goldberg.

First thing you should know about Jonah as relates to this conversation - he only has a job as a writer because of his mother, Lucianne Goldberg, who was a friend of Linda Tripp. Yes, that's right, he nepotistically exploited being the son of an associate to a loathed historical footnote to start his writing career. That's it...That's why any of us know the name "Jonah Goldberg." He's nothing.

Second thing you should know about him. He's unspeakably vile. Where to even begin with this guy...

Okay, here's a spot...Jonah's recent Townhall column about the immigration protests this week in Los Angeles. See if you can get your mind around this twisted bit of logic:

Many pro-immigration advocates say that Mexicans are no different than other immigrants, and that what critics of Mexican immigration - legal and illegal - say about Latinos is what they said about Germans, Poles, Italians, the Irish and the Jews in the past.

Obviously, there's some truth to this. Many of the complaints do sound similar. But that doesn't mean the arguments have the same weight. The arguments against interracial marriage sound very similar to the arguments against gay marriage, but that doesn't mean a black woman marrying a white man is the same thing as a man marrying another man.

Wow...

So, there's truth to the notion that hatred of Mexican immigrants works in a similar fashion to organized hatred of other ethnic immigrants in years past. But it should still be allowed because...the complains against Mexicans have more weight? What does that even mean? Could he be more vague?

Here's a good place to start. Why do contemporary complaints about Mexican immigrants neccessarily have more weight than complaints about the evil, exploitative Irish and Italian masses coming over in the early 20th century? Because those people were white and these people are brown? Because you said so?

Also, you've got to love the senselessness of the analogy that follows. Actually, Jonah, there are a lot of comparisons to be made between the interracial marriage debate and the gay marriage debate. In both cases, you have an old and intolerant generation that realizes their children are a lot more accepting of a practice that they find offensive. So they rush to outlaw it for all time in advance, to protect their treasured "values." First, it was whites and blacks living together. Now, it's two men co-habitating. But it's the same intolerant venemous horseshit. Why can't he see that?

Finally from this Townhall column, Jonah includes an actual "fact," one that I found kind of surprising:

Today, roughly a third of all undocumented immigrants in America are Mexican, and they make up a disproportionate share of low-wage immigrants.

He thinks this is a shocking revelation that will cause white Americans to wake up and begin opposing Mexican immigration. But actually...I think it might have the opposite effect. Mexicans only constitute one third of undocumented immigrants. So why are we going after them and not anyone else? What about those other 2/3? Could it be, again, because some of them might be white people?

(As an interesting little bit of trivia, his bio on Townhall.com refers to Goldberg as "the Gen X answer to P.J. O'Rourke." This is oddly appropriate, as both Goldberg and Rourke were the victims of Ben Domenech's plagiarism over the last few years. Why anyone would think to steal the poisoned, mindless rhetoric of this guy is beyond me, but there you go...)

I could write a Jonah Goldberg rant all day. Seriously. There's so much of his goofy writing online to pick on, whole blogs are taken up by the task. Anyone else recall his excuse for being a young man who firmly believes in the Iraq War and its crucial importance for America's future, yet refusing to enlist?

Well, okay, lets backtrack. First, Jonah wrote this:

"In the weeks prior to the war to liberate Afghanistan, a good friend of mine would ask me almost every day, "Why aren't we killing people yet?" And I never had a good answer for him. Because one of the most important and vital things the United States could do after 9/11 was to kill people."

Then, a lot of people on the Internet started saying..."Well, if you're so keen on killing, why not join up, dude? Or are you only in favor of sending poor people out to do your killing for you, while you sit around in your house eating Ring-Dings and looking at Internet pr0n?" To which Jonah replied:

For the record, I did in fact mean it. I wrote it here. As for why my sorry a** isn't in the kill zone, lots of people think this is a searingly pertinent question. No answer I could give -- I'm 35 years old, my family couldn't afford the lost income, I have a baby daughter, my a** is, er, sorry, are a few -- ever seem to suffice.

Yeah, I mean, it's like...hello...Why do you think my mommy and her despicable, beastly friend go me this cool job writing bullshit on the Internet? So I could just cheer for war, safely, from my basement! A-duh!

Okay, so anyway, on to the LA Times, which added Jonah as a regular columnist back in December of 2005. Presumably, chasing the ridiculous notion of "balance," as if conservatives were going to suddenly stop saying mean things about the LA Times. It's idiotic. If the news constantly makes the president look bad, maybe he should change what he's doing instead of just whining like a petulant child about how reporters are unfriendly doodyheads.

Anyway, Jonah feels that the Congressional Black Caucus is getting uppity. And he can't have that.

The caucus lives in a fantasy in which it is the "conscience of the Congress." Immune to the sort of scrutiny that many other groups receive, it has benefited from the soft bigotry of low expectations for decades.

Again, it's so vague as to be meaningless. Is he actually quoting a member of the Congressional Black Caucus who said that he or she feels like "the conscience of the Congress." Or is it a term he's invented for the article? What does the group actually do to reflect the fact that they "live in a fantasy," which is kind of a serious charge. And most importantly, what other "groups" receive more intense scrutiny, and by whom? And who has "low expectations" of the Congressional Black Caucus. Democratic voters? Jonah Goldberg? I mean, seriously, what's he talking about?

Most African Americans favor school choice, but because the caucus is firmly ensconced in the
teacher-union racket, it bars the schoolhouse door to black kids who want a better education via vouchers.


So, I suppose Jonah's trying to make a point about how the members of the Congressional Black Congress don't vote in a way that African-Americans approve. But isn't the fact that they keep getting elected by their constituents in some small way a mark of approval? Maybe not for every position they take, but for their overall direction? In any case, I excerpted this quote because it's more vague, misleading pseudo-journalistic goo. I mean, "black kids who want a better education via vouchers" is such a melodramatic way of putting it, as if black kids are going up to Congressmen and asking, "Would you pwease give me a voucher so I can go to a good school," and the guy's going, "Get away from me, kid, I've got Teacher's Unions to protect!"

I've heard solid arguments for both sides of the voucher issue. (Personally, as the child of a public school teacher and someone who feels like educating the young is among the government's most basic and important functions, I'm pretty much against the idea of diverting funds from public schools to private companies). But Goldberg's not interested in really debating the issue...He wants to pervert it, to confuse people and make it seem like his side is the one favored by black children everywhere. It's not.

A majority of blacks oppose outright racial quotas, but don't tell that to the caucus.

Is this true? Do most black people think it's wrong for companies and universities to set minimum levels of minority hires or admissions? I'm not saying it couldn't be true, but I'd be surprised if it were. Why would a majority of blacks dislike proposals that would so clearly and directly benefit their community?

Why pick on the blacks in Congress? Because they represent black leadership in America, and it has been on their watch that black America has descended into such a mess.

And here's where the column shifts from poorly-thought-out piffle and into outright racism. Here is where Jonah starts to argue that blacks are themselves at fault for being poor and disenfranchised, as if all the black Democrats in Congress got together and agreed to keep their people impoverished and imprisoned, out of spite.

In a moving essay in the Washington Post, Joy Jones lamented how wedlock has become unfashionable in much of black America. A sixth-grader recently informed her that "marriage is for white people."

It takes a truly talented hack to come up with an entire social theory based on the observations of an unnamed sixth grader.

Sociologist Andrew J. Cherlin of Johns Hopkins University says blacks were more likely to be raised by both parents during slavery days than they are today.

Ah, yes, the good ol' days. When blacks raised their children, picked white people's crops and knew their place. Things were so much simpler then...

There's a lot of Marxist-infused nonsense about how economics are at the root of black America's problems. But this doesn't hold up to scrutiny. Of course poverty makes social pathologies worse, but it's the pathologies that cause poverty in the first place.

I'm pretty sure people had made a mental connection between poverty and crime even before Karl Marx, but no matter...Jonah here, quite remarkably, dismisses the vast vast vast majority of contemporary sociological thought with the wave of his hand. "It might seem obvious that the desperation caused by cyclical, endemic poverty drives an inordinate amount of people to crime, but...um...no. That doesn't hold up to, uh, scrutiny."

Also...if black people don't commit more crimes because so many of them are so poor, then why do they seem to be inordinately represented in crime rates? "Social pathology"? Doesn't that just mean "blacks are inherently more criminal"?

Racism alone cannot be blamed anymore for causing all black problems. By every measure, racism, particularly official racism, has declined even as these problems have worsened.

Oh, really? Gee, thanks for clearing that up. It seemed to me that a lot of people were still racist, and that the upper echelons of elite society are still largely off-limits to black Americans. But I guess I was wrong, because Lucianne's Boy said so! So, Jonah, please tell us...What is it, then? Why is The Black so much more criminal than The White?

Racism is surely still a problem, but it pales in comparison to family breakdown. Nothing more perpetuates the cycle of moral and financial poverty. If you are raised by two married parents today, black or white, it is unlikely that you will be poor, or poor for long.

Whaaaaaaaaaat? Where does he get this shit? As if having married parents has anything to do with living in poverty! It's ludicrous on its face.

Really, Jonah's made what could be a real observation, but he has come up with a completely backwards, tortured explanation. The observation: poverty seems statistically tied to single parenthood or broken families.

Is that accurate? Because it seems like rich people still get divorced and have messed up families all the time, and plenty of poor people remain married. In fact, every person I know who comes from what could be called a genuinely wealthy family likewise comes from a broken home. (Seriously, every single one.) So I kind of doubt even the validity of this information.

But even if true, wouldn't it seem more likely that cyclical poverty causes families to sever, as opposed to the other way around? Arguments about providing for the family and debt, the increase in alcoholism and drug abuse that comes with financial worries and poverty, living in dangerous or otherwise non-family-friendly inner-city neighborhoods...these things are what break up families.

But of course, a racist would see it from the opposite perspective. These crazy, out of control black men just can't settle down and look after their women, so everybody stays poor.

So, I repeat...Why is The Los Angeles Times running with this racist trash? I'm not saying they should have hired me, because I was never much of a journalist myself. But surely there's someone out there who's more qualified and less blatantly prejudiced against large segments of Americans. What's Ben Domenech doing these days? Haven't heard from him in a week or two...

Wednesday, March 29, 2006

Más Wankery Sobre Inmigrantes

Did you ever notice how, when things are looking really bleak for the President, all of the sudden some new, stupid outrage seems to come from out of nowhere and start making headlines? Missing Americans on tropical islands, "wars" on tree-themed holidays, maintaining the precious lives of the brain-dead and so forth? Could it be that the American press and the government both massage the news away from stories critical of the Chief Executive, in the same way that they both manufactured negative news stories during the Clinton years?

I mean, take our present situation. Everyone except those with less brain activity than the Unfortunate Ms. Schiavo accept that we are led by a semi-literate fascism-inclined bozo, the kind of man who, had he been alive during Caveman times, would have gotten himself immediately entangled in a tar pit for future generations to unearth while his fellow tribesmen were out hunting mammoth and inventing wheels.

And just when talk is becoming seriously dire (major newspapers, for example, start seriously talking about censure and even the Big I), Congress starts debating obscene, angry-white-guy legislation punishing...sigh...illegal immigrants.

Don't you people watch "The Simpsons"? A politician shifting blame from himself by focusing everyone on hating illegal immigrants is actually the single oldest trick in the book. Okay, maybe it's second after simply walking up behind your opponent and just shooting him in the head. But it's an extremely old trick.

Before I take on any of these drooling right-wing mouthbreathers getting all riled up about illegal Mexicans polluting their fair country, I'll give you my take on the entire issue in a nutshell.

Illegal Mexican immigrants don't do shit to you white people, particularly you rich white people, so you should all just calm down and stop being racist.

See, here's the thing. White Americans live either in BFE or in big cities. Those living in the middle of nowhere don't meet a lot of foreigners, and the ones they meet they tend to ignore, so they rely on the opinions of their racist parents and racist images in our racist American media. So they think Mexicans are lazy, sweaty guys with big hats and moustaches because that's what they have come to know.

When you live in a big city, there are lots and lots of people around. It gets very irritating to be in close quarters with so many different people from all over the world. So a lot of city dwellers, out of frustration at their living situations, develop racist attitudes towards those of different ethnicities who live around them. New York City has its reputation as a hotbed of angry racists for a reason.

Mix it all together, and you get a lot of white Americans who resent Mexican people, both those here illegally and those with every legal right to live and work in America. I include myself, though I try to keep these feelings in check. Sometimes, I am awoken early in the morning by Daddy Yankee or Mexican polka music, and this upsets me greatly. I just try not to let life's little frustrations color my overall perspective.

So, anyway, a lot of white Americans are unfortunately receptive to this idea that illegal Mexican immigrants are fucking up our country, even though it's not true. It's just a myth, I swear. Really. There are a lot of people coming to America from all over the world, and not all of them come here legally. They come here because our country has so much, and almost every other country on Earth has so little.

This is not their fault. It is our fault. They just want a little extra money to help out their families, you know? And they do all kinds of menial labor that big, greedy American companies rely upon to pay their rich executives.

What's the solution to the "problem" of illegal immigration? To not worry about it so much. Okay, there's a bit more to it than that. I'm all for border security, though I'm far far far far more concerned with, you know, people bringing in explosives and the Hanta virus than a couple of guys who just want gardening work. But once they're here, I see no reason why we shouldn't try to help them become productive citizens.

I mean, they're here, right? If you don't help them get jobs and learn the language and send their kids to school, you're going to have a society where there's this whole underclass of people who can't have normal, fucntional lives, leaving them angry and alienated and crippled by cyclical poverty. Think that sounds nice? Ask South Africa and Israel how well it's working out for them.

Which brings us to right-wing hate festival Captain's Quarters. Captain "Special" Ed is upset about the student protests throughout Los Angeles area schools as part of the massive outpouring of anger about Congress' latest proposals, to criminalize undocumented immigrants and anyone providing themn with aid. The first paragraph is like a How-To manual for writing with hate and ignorance:

It's hard to imagine that the schoolchildren who engaged in a pro-illegal immigration rally yesterday helped their cause much, except to harden the polarization already felt on both sides of the issue. While our politicians in Washington talked about how the illegals came to the US to enjoy the American dream, their actions speak much more towards the reconquista that, as Michelle Malkin has written, lies at the heart of the triumphalism that they now espouse. The Los Angeles area school districts allowed 22,000 students to protest border security and the enforcement of immigration law Monday...

Let's add up the Captain's infractions together, shall we?

(1) Note how he disingenuously pretends to offer the protestors a "critique" on how to further their cause, as if he's an impartial media expert. "Hmm...that won't help their cause much, and I should know because I hate them and everything they stand for." You know what will really hurt their cause, Cap'n? Ignorant pricks spewing venom on obscure blogs.

(2) Dehumanizing the protestors, immigrant and non-immigrant. He can't even call them "protestors." Only "illegals."

(3) Citing Michelle Malkin, a woman whose most recent book was edited by a 24 year old disgraced serial plagiarist, as an expert in immigration affairs! She thinks the government has a right to place immigrants in pens without charge and with no access to lawyers!

(4) Mischaracterizing the entire nature of the protest. I twas not "pro-illegal immigration." Nor was it protesting "border security" or any such nonsense. It was protesting a brand new law passed last week by the House that would criminalize living in the U.S. without documentation and criminalize helping anyone who lives in the U.S. without documentation. To call that law draconian is like calling the Iron Maiden slightly unpleasant. I've got another law that Captain Ed would probably love - "All Americans are equal but some Americans are more equal than others."

(5) Referring to this completely bogus "reconquista" myth, propogated often in insane conservative wank-off circles.

For those of you who don't often read the loopy screeds of the conspiracy-minded, the concept of the "reconquista" refers to a movement from the 60's known as "La Raza." La Raza was a radical group that supposedly wanted to re-annex large portions of the American Southwest back to Mexico, to retake what was stolen by Americans in the previous century. El Capitano Guano has more:

The rallies in Southern California only ripped the lid off of a well-known dynamic in the culture that mixes native guilt with radical illegal-immigrant activism to fuel the La Raza dream of Aztlan, the reconquest of the the Southwest and its return to Mexico or existence as a separate nation. This radical notion has been around since 1969 and plays a part in the fringe politics of the Southwest. However, the increasing sense of entitlement for illegals in the area has led this impulse out of the shadows and into the forefront of the amnesty movement by enabling people to argue that the illegals are returning to their own land and that the US lacks the sovereignty to declare otherwise.

Does Ed not realize this paragraph contradicts itself? He opens by saying that La Raza's dream of Aztlan is "a well-known dynamic." Then, two sentences later, he says that La Raza is a fringe group that is only now starting to achieve any sort of prominence in the debate. Which is it, Ed? Is this a well-known phenomenon, or a new trend you have just discovered? (By the way, I know it's confusing, but in this paragraph, white Americans living in California are called "natives." Um...sure...)

Anyway, the whole theory is ludicrous. Illegal Mexican immigrants (a group, I'd like to stress, that's impossible to tell apart in photos or media from the legal immigrants and illegal immigrants from other Latin American nations) are not organizing in order to topple the American government's control over California. This is incredibly retarded. They're not organizing at all, except to protest. They want incredibly simple things, like the right to work without being thrown in jail. That's not unreasonable. That's what we want people to want, isn't it? When people are productive and happy and not afraid that being their race constitutes a felony, everyone's better off.

Again, this whole "Aztlan" thing is just projection. Racists like the Cap'n actually want dominance and control over America, all of it, from California to New York, and part of that is that they don't want too many brown people around. Oh, sure, you can have a few to clean up after you. But they don't want to have to see them all the time, especially in their own neighborhoods. And forget about helping them if they get sick, or teaching their punk kids the multiplication tables!

So they make up this ridiculous nonsense about re-annexing the Southwest, as if such a thing were even theoretically possible. The whole line of argumentation is pathetic, really, and sad.

But what really really upsets the Captain is the protestors insistence on flying Mexican flags! How dare they!