Thursday, December 22, 2016

My Subconscious Has a Weird Sense of Humor

I dreamed last night that I was watching a revival of Cyrano, and they'd decided to go a completely different direction by making it a musical. It was a terrible mistake, though, because the director chose "Roxanne" as one of the songs, and it really made Cyrano's reputation as a great poet and lover misfire when he wrote an anonymous love note calling the woman of his dreams a prostitute.

Thursday, December 15, 2016

I'm Suddenly Tempted to Make a Short Film

I saw the trailer for 'Spider-Man: Homecoming' recently, and while there was a lot of cool stuff to unpack, I find myself utterly fascinated by the four burglars at the beginning wearing the cheap Avengers Halloween masks. I mean, setting aside the head-twisting weirdness of kids dressing up like superheroes in a world where superheroes are real, I really want to know what made the bank robbers decide to pick these particular masks. I can actually see myself making a short film on the subject, a sort of Reservoir Dogs pastiche where these four hardened criminals, having obtained the advanced tech they need to carry out their crime, now argue over which Avenger they're going to dress up as.

I figure you'd have the one guy who really thinks it's a bad idea. He says that the one thing that will make the Avengers get up off their butts to chase down a bunch of bank robbers is finding out that those bank robbers all wore Avengers masks to commit their crimes. He finally, reluctantly agrees, but demands to be Captain America because that's the only one of the four who probably won't accidentally kill him just by punching him.

There's a huge argument over who gets to be the Hulk, with one of the guys insisting that he totally, like, gets the Hulk in a way that none of the others possibly can. But one of the other guys wants to be the Hulk, because it's either that or Thor (because the guy who organized the gang is like, "No, letting me be Tony Stark is one of the conditions of the job" and his mask is suspiciously better than everyone else's and it's kind of obvious to everyone that he came up with the whole 'Avengers masks' idea pretty much as an excuse to wear his Iron Man mask without looking weird for being the only one wearing a superhero disguise, but they don't say anything because it's a really good plan and they don't want to lose out on the loot)...

And the Hulk guy is like, "Why don't you want to be Thor? You're totally a Thor dude!" and the other guy explains that he saw all these creepy skinheads in prison with Norse tattoos and he doesn't want anyone to think he's, y'know, racist or anything, his girlfriend is black and his kid is biracial and he wants them to be proud of him. And the Hulk guy is like, "Naw, no way, man! The real Thor, he'd be totally cool with your kid! You know if he saw those skinhead dudes, he'd be smacking 'em with the hammer like he was playin' Whack a Mole!" and really selling Thor to this other criminal, until the guy finally relents and picks up the Thor mask and says, "Let's do this!"

And then the post-credits scene is just a reprise of the scene from the trailer.

I can see it working, I really can. I suppose it'll become a sickness if I ever write out an actual script.

Thursday, November 10, 2016

A Seat at the Table, a Voice in the Corner

(Crossposted to Daily Kos.)

I’ve seen a lot of angry progressives over the last few days. While it is definitely time to look at why we lost, it is not and never will be a time to cast blame. Finding a problem and fixing it is important and necessary; finding a reason why it’s not your fault is just an exercise in ego-preservation and will only lead to a whole bunch of new mistakes next time as we fix every problem but the ones we’re responsible for making.

So, let’s talk...calmly and without rancor...about Hillary as a candidate, and the other choices we had...and the other choices we didn’t have.

Hillary, in retrospect, was everything we tried to convince ourselves she wasn’t. She was a wonderful woman, a great civil servant, a hero that the American people frankly don’t deserve...but she was also a polarizing figure that the vast majority of Americans had already made their mind up about, who was too reserved and guarded to be an effective campaigner. She did her best, but she was always going to be better as a Secretary of State where she could play to her strengths than as a speaker out on the stump. We told ourselves that we could overcome that and we almost did, but the flaws were what we thought they were.

Bernie Sanders...was pretty much the same. Not that he didn’t differ with Hillary, but his differences were not the kind of differences that would have swung the election. He would have come out with a more fiery, more progressive message...but his message would not have swayed the voters that came out for Obama and stayed home for Hillary. Because his message to minorities, and her message to minorities, was the same. “Trust me to represent you and I’ll be a voice in your corner.” And I think that from now on, the Democratic Party is going to accept that this simply isn’t good enough anymore.

Because we’ve had Barack Obama. I’m 41, and he is the best President we’ve had in my lifetime. I think I’d say the same thing if I was 51 or 61 or even possibly 71. He performed magnificently under conditions that were almost impossible. He was an inspiring leader and a forceful voice in polarized circumstances. And his coalition, the coalition that got him elected and re-elected despite the best efforts of obstructionists and racists, is a diverse coalition of minorities. They have seen that a black man can be President and can do a damn fine job. A promise is not good enough for them anymore. Nor should it be.

If the Democratic Party and the progressive movement is going to be a coalition of minority voters, the candidates we put forward should reflect that. If minority support is the difference between a D and an R in the White House, then they deserve a seat at the table, not just a voice in their corner. They deserve to look at a candidate that reflects them, not just another member of the white establishment making promises. Anyone can make promises. Trump made promises. Actions speak louder than words here, and the actions of the Democratic Party were to follow up the historic election of America’s first African-American President with Lincoln Chafee, Jim Webb, Martin O’Malley, Hillary Clinton and Bernie Sanders, and tell minorities, “It’s cool, they’re all woke!”

(And in hindsight, Tim Kaine was the most adorably terrible choice for VP Hillary could possibly have made, for those same reasons.)

In 2020, we have to do better. We have to show that the Democratic Party does not just pay lip service to our core constituencies, we respect their ability and their perspective and their patriotism. It is time for people like Hillary, Bernie...and yes, me too, white guy sit down and let someone like Ilhan Omar be a voice in my corner for a change.

Thursday, September 29, 2016

Saying Farewell to A Pastime

For those of you who haven't heard, tomorrow marks the last day of the Facebook game "Marvel: Avengers Alliance", which started out as a turn-based tie-in to the 2012 'Avengers' film and just sort of kept going for four years and 166 playable characters. It wasn't a perfect game--it was a Flash game and prone to bugs and balance issues just like many others, and it had its grindy elements just like pretty much any game that tries to get you to log in every day and play it as much as possible does.

But it had some amazing virtues. It had a character roster that hit just just the classic Marvel characters like Spider-Man and Thor and the Hulk, but quirky and offbeat cult favorites like Howard the Duck and Daimon Hellstrom. It introduced players to new heroes like the Blue Marvel and Faiza Hussain, spotlighted obscure heroes like Phyla-Vell and Cloak and Dagger, and even allowed you to redeem a variety of villains from Magneto to Ronan the Accuser and put them to work in the service of humanity. It allowed for a dizzying array of team-ups and crossovers, and was every Marvel fan's dream in a lot of ways.

And the gameplay, while simple, was not without its depths. The different characters each had their own mechanics and special abilities, and figuring out how to combine them could produce synergistic effects that made them amazingly powerful. (Drax, for example, was lethal but withered quickly under direct assault, while Groot was a walking shield wall that took the hits for his team mates. The two made a devastating pair.) Combine that with a variety of different game situations that mandated or prohibited specific characters and you had a recipe for constant reinvention and adaptation to the different enemies the game threw at you.

I've been playing the game in one form or another for about three years now, pretty much ever since 'City of Heroes' went the way of all things. It got me through my grieving period for that game, in a lot of ways. Now I have to grieve this one. I guess that's the problem with games that offer you an infinite number of possibilities and a sweeping array of things to do. In the end, it just means that your interest in the game outlives it instead of the other way around.

Monday, September 26, 2016

Has Whedon Changed, Or Have We Done Changed?

Of late, I think it's safe to say that there's been something of a fan backlash against Joss Whedon. His last work of note was 'Avengers 2: Age of Ultron', after which he more or less quit doing big studio movies in despair and hasn't had a major project since. Meaning that to some extent, he's been judged by 'Age of Ultron', which...

Okay, let's get this out of the way. I liked 'Age of Ultron'. I know the criticisms against it and they're not without merit, but I do think that they are sometimes overemphasized in relation to the film's virtues. Whedon had a murderously tricky balancing act to pull off--making a movie that was simultaneously the beginning of Tony Stark's big hubris arc while still making him relatable, advancing the metaplot of the Infinity Stones while still making a movie about Ultron, advancing the stories of Black Widow, Hulk and Hawkeye who aren't getting features of their own for internal studio-politics related-reasons that are pretty much why he quit in despair, introducing Vision, Quicksilver and the Scarlet Witch, setting up Wakanda for future films, and oh by the way rebutting 'Man of Steel' and Zack Snyder's dystopian Objectivist vision of superheroism. The fact that he made a film that was watchable is, I think, something of an achievement even if I can also agree with the people who have specific and legitimate complaints about it.

There. Now as I was saying, he's been judged to some extent by 'Age of Ultron'...but I also think that we're beginning to see the first reappraisal of Whdeon's overall body of work as we get a bit of distance and perspective from it. And some of the things that people are seeing are things they're not happy about. For the first time, Joss Whedon is being viewed not as "the feminist writer guy", but as "the problematic writer guy". So what's changed?

I don't think that Whdeon himself has changed. I think he has always been a committed ally to feminism, but I think he's also, like a lot of guys who see themselves as committed allies to feminism, not really used to having to adjust to the fact that a committed male ally to feminism is playing a supporting role and not being a star. It's difficult, I think, for him to accept the fact that as a major Hollywood writer/director/producer, he is fundamentally sucking up some of the oxygen in the room away from feminism no matter how hard he tries to do otherwise simply because his voice is so much louder than that of the women he's ostensibly supporting. I think we've seen this overtly a few times when he's gotten into verbal dust-ups and been very upset that his "feminist cred" was being challenged by women--surely he'd done the work by now, right? Surely he would get the benefit of the doubt?

He doesn't and shouldn't. As much as I can say that I understand what he was getting at with the Black Widow scene in 'Age of Ultron', I can also say that I fully understand why a lot of people thought he failed at conveying what he was trying to say and failed in ways that reaffirmed some very sexist tropes in fiction. He does not get a "feminist pass" on those things, and he shouldn't behave as though he's earned one. And I can understand as well how that issue and his response to it has made him lose a lot of trust from feminists in the forefront of the discussion, even though he's said he'd like to try to write a story that would make amends for it. Because...

Well, honestly, because even if you ignore some of his recent tantrums over being called on his feminist credibility, it's still worth reappraising his work in the light of a good decade or so of distance. It's okay to say that while 'Buffy' and 'Angel' were very progressive for 1997 when they started, or even for 2004 when they left the air, that they're not that progressive for now and it's okay to examine them from the point of view of here and now and say that Tara getting killed off was a major example of a very unpleasant and homophobic trope that LGBTQ fans have gotten thoroughly sick of, or that killing off Charisma Carpenter's character because the actress got pregnant was shockingly petty and sexist, or that while we got some big moments of Buffy throwing off the shackles of the patriarchy over the years, we also got a whole season of her screwing up the basic functions of adult life so badly that her father figure had to come back and help her put her life in order.

And that Mal Reynolds is a misogynist jackass to Inara whose lack of respect for her is palpable in every scene between them, despite the chemistry the two actors had together, and that had the series gone another season we would have probably gotten the most profoundly horrible sexist episode of a Whedon series ever. (If you don't know about this one, be kind of glad. It doesn't get much better when you describe it in detail.)

Oh yes, and that in pretty much all his series he describes "physical strength" with agency and romanticizes abusive relationships. The point is, while Whdeon was progressive for the 90s, it's okay to say that it's not the 90s anymore (yes, I feel old too!) and we expect more from creators than just "look, there's a female protagonist here who's not the damsel in distress!" It's okay to say that looking back, these series seemed great to us because we were getting so little from our media in terms of representation that just having a lesbian couple who were openly in a relationship for a full two seasons was ground-breaking. It's okay to say that even though we respect Whedon's efforts to shift the conversation forward, he's not a flawless saint and he can be criticized without tearing down the entire edifice of feminism. It's okay to say that he's a feminist and that he's problematic. You can be both things at once. Lord knows that as a white dude myself, I've probably fallen into that trap more than a few times.

Joss Whedon has not become less feminist. He is still who he always was. But it's okay to want more than that now.

Thursday, September 22, 2016

My One Concession to Donald Trump

Having now officially heard more out of Donald Trump's mouth than I think I ever want to in this lifetime, I'm willing to concede one important point that he's been hammering on for the past...oh dear god it's been almost a year will this endless stream of verbal diarrhea never CEASE?

(It's not the one about the Mexicans.)

Donald Trump has been saying, almost from the beginning, that he's fighting a "rigged system". And after watching him in action, I'm willing to say that yes, absolutely. The system is rigged in such a way as to make it harder for liars, fraudsters, crooks, cheats, con artists and swindlers to get into a position where they have the power to siphon off vast amounts of public money for their personal aggrandizement, and to use the bully pulpit of running for office to steal money from American citizens under the guise of "soliciting political donations." We make it hard for people to do that. Entirely on purpose.

(Clearly we haven't made it hard enough, because Trump, but that's another conversation.)

Basically, yes. The system is rigged against Donald Trump. The system was also rigged against Bernie Madoff. The only difference is that Donald Trump is better at getting around rigged systems than Madoff was.

Monday, September 19, 2016

Review: The Fog

This is not a review of the 1978 film 'The Fog', directed by John Carpenter and starring Adrienne Barbeau and Jamie Lee Curtis. This also isn't a review of the 2005 remake starring Superboy and a bunch of other people who singularly failed to make an impression on my memory, probably because they weren't rocketed from the distant planet of Krypton. No, this is a review of Dennis Etchison's novelization of the '78 movie, which I picked up in a used bookstore because I saw Dennis Etchison's name on the cover and I wanted to see a bit of what he was about.

And look, there's no question that he gives it his all. He cranks up his descriptions of glowing fog to eleven with phrases like "the reptilian swishing of the cloud as it withdrew", and "It gathered in a cold boiling on the ground and grew amoebalike pseudopodia in glutinous chains" and "The fog contracted, strengthening its substance, and expanded again, solidifying an ectoplasmic net". This is a man who has realized that his brief is to make his reader buy into the idea of 'scary fog', and is determined to make the best of it.

The problem is that basically, this isn't a 'scary fog' story, despite the title being 'The Fog' and there being much made of 'scary fog' in pretty much every scene in the first three-quarters of the book. This is a zombie story. It's a zombie story that tries to make its zombies cooler by hiding them in scary fog, and cooler still by making them pirate zombies (well, technically they're independently wealthy leper sailor zombies, but the iconography is all piratical, so hell with it), but still, this is basically a movie where vengeful undead hunt and kill people. All the 'scary fog' stuff is just window dressing for boring old zombies that don't even really do any of the cool stuff that zombies do like eat brains or bring their victims back to life as more zombies.

(Which they could very easily have done! If they were actually pirate zombies instead of merely independently wealthy leper sailor zombies, then they could have a ship of the dead, and anyone they kill is damned to join their crew for all eternity. I mean, it would get a little crowded on board, but it's a spectral ship of the damned, so maybe it's got TARDIS-like insides that can hold a lot of people. Or maybe if you kill enough people to take your place, you're free, so there's constant crew rotation. The point is, the whole "actually really nice people in life who are just miffed about their totally unjustified murder a hundred years ago and are revenging themselves on the descendants of their murderers" thing is really only scary if you happen to be the descendant of a treacherous murderer who used stolen gold to make your family rich. And also that ghostly pirate ships are way cooler than scary fog.)

In the end, Etchison more or less manages to cover most of the weaknesses in the basic structure of the movie the same way that Carpenter did with the film version, through copious amounts of atmosphere both literal and figurative (see what I did there?) Honestly, that's probably the reason the 2005 remake made so little impression--without amazing people elevating the material, there's really not much there. Even with Etchison's prose, it's not great. But it's not terrible, it's short and there are worse ways to pass the time.