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Brendan Has An Opinion About Captain Marvel (2019)

April 1, 2019 /
  • Captain Marvel (2019): Overdue, overworked, underdone, and welcome.
  • Edge of Tomorrow (2014): I don’t remember why this widely released, highly profitable PG-13 action movie starring very famous people was considered sort of an underdog back when it came out. Maybe because it made less money that weekend than The Fault in Our Stars (2014)? It had a “hey, go rent this gem nobody saw” tag in my head, which turns out to be a little inaccurate. “Groundhog Day (1993) with aliens” is a good gimmick, especially in the era of video game save scumming; it hits a lot of fun beats; and it’s well-executed, which you’d expect at this point from Doug Liman and Christopher McQuarrie. But its ending lacks the conviction one might hope for from a movie that has the commitment to shoot Tom Cruise in the face a hundred times. The idea that Emily Blunt was the badass and he her stumbling apprentice was I guess still sadly unusual in 2014 too, but all the same, it’s a movie with only one woman character who ends up the object of romantic intent.

  • Medicine for Melancholy (2008): Now, see, here’s a movie with a tag in my head that I wish I had gotten around to much sooner. In 2012, back when I had a Netflix queue, I put this in my Netflix queue because it had an interesting title and I liked Wyatt Cenac. Then I got The Kids Are All Right (2010) from higher up on my Netflix queue, let it slip behind a bookshelf while I was depressed, and only found it again when I moved out of that house and cancelled the disc-based side of my Netflix account. And the next time I thought about this movie was when I realized it was the only feature Barry Jenkins made before Moonlight (2016).

    There’s some stuff that is raw in the movie: not just Jenkins’s need to shout, but stuff like the artificially muted color palette, a device that is limited in effect by the tiny budget and the cheap DV technology of ten years ago. I suspect that was the first experiment in what led Jenkins and James Laxton to rethink LUTs for brown skin eight years later. Yet there’s also a lot that is already dialed in and locked down, from the dialogue mixing to the shot composition to the intimacy and chemistry of the performances. You can see that this is something skilled people cared about making very much.

    Medicine for Melancholy was shot in San Francisco a few months before my abortive attempt at living in San Francisco. My memories from those two weeks are scattered and not very warm. I can’t claim to face all the same things the characters are struggling with, but I could already feel the same rising unease of housing insecurity. I wonder who’s making their first movie on an iPhone in Portland now, and what it will be right about, a decade on.

  • The Limey (1999): Someday I will start my career retrospective blog about Steven Soderbergh. This movie is often praised as being among his best, and I’d never seen it. At this point, if you know about the movie, you likely also know about its semi-infamous commentary track, where screenwriter Lem Dobbs grouches a lot about all the things he dislikes about the finished film (and the nature of his job) while Soderbergh plays mild defense. I watched the movie and then the commentary back to back.

    I don’t think Soderbergh’s body of work is perfect, but in the two decades since I saw Out of Sight (1998), I’ve never been disappointed or angered by his choices. That sounds like faint praise, but the dude has made thirty feature films! To have done that without resorting to visual or verbal cliches, without betraying a mistrust of his audience, and without discarding the principles he started with is part of what makes him extraordinary in his field. He is out there right now shooting movies on his iPhone, and—okay I accidentally started writing the intro to the retrospective here. Sorry, back on track.

    My point is: I like and trust Soderbergh, and also, I think the criticism Dobbs levels at the product is probably right. The time-jumping and intercutting style beats would have benefited from being pushed further than they were. The side characters would have gained dimension and been more memorable if he’d cut less of their background and context, and the themes of class and family would have added depth to the movie if he hadn’t pared them down. That’s valuable to learn for me! That’s a new angle I can take when watching Soderbergh’s other movies: what might have gone missing on the way to the final cut?

    Also, if you have inhaled a substance that is legal in Oregon but not THAT much substance that is legal in Oregon, the part where the commentary audio gets meta and starts going all intercut and echoey is very alarming.

  • The Incredible Hulk (2008): I have now seen every single movie that sits within the bounds of the Marvel Cinematic Universe, and someday I will answer for that. This one doesn’t work, and I think there are interesting contrasts to be drawn between it and Iron Man (2008), which for all its problems works very well. But this post is too long already.

  • Speed (1994): Rewatch, of course (Kat had never seen it). I have made demeaning remarks about this movie in the past, and I hereby revise my opinion: it is clever and solid. Part of this realization is tied to the previous item in this list. I enjoyed the act of watching Avengers: Infinity War (2018), but ever since I walked out of the theater, something about it hasn’t sat right with me.

    Both Speed and Infinity War are movies about trying to stop a bomb from going off. In both movies, you know that fuckin’ bomb is going to go off. But Speed holds your interest about when and how that happens, because it capably switches initiative and agency between the antagonist and the protagonist. And Infinity War has no protagonist at all. You’re not there to find out how any member of the cast struggles or changes, you’re just there to find out who gets dusted at the very end of a three-hour runtime, and that’s not a story, that’s a backstory. I like and trust the Russos too, but that’s where they ran up against an imposed constraint that broke their work instead of challenging it.

    Anyway, Speed is good, and its actual uncredited writer is another dude who was defeated by the constraints of Avengers movies. Avengers movies are a trap! If at all possible, avoid directing an Avengers movie.

  • Days of Being Wild (1990): I just made myself shudder by thinking about what ~fan theory~ articles would have made out of the last shot of this film, if it had come out today. Of course, Wong Kar-Wai people have long since decided on their own interpretations of it, but at least I don’t see them in clickbait headlines. Whether it’s linked to his other work or not, this one is beautifully composed and I enjoyed watching it, even though I felt zero sympathy for its protagonist. That’s hard to pull off!
  • Us (2019): You have to be pretty fucking good to get me to watch a movie that actually scares me. Jordan Peele is. I wish Ursula Le Guin had seen this. I guess now I have to actually find the courage to go back and watch Get Out (2017).

  • Spider-Man: Into the Spider-Verse (2018): Rewatch (my new roommate Brett hadn’t seen it yet). All time top three. Maybe all time top two. I don’t know how to talk about this thing without sounding fevered. Even if it weren’t a tremendous artistic achievement and even if it hadn’t cast every preceding 3D animated movie as the infancy of the medium—I want to step through like one second of the animation and point out how many ways they use constraints to break rules—it would still be an extraordinary proof that fifty-seven years of stories about the same character can be freeing instead of confining.

    Spider-Man has been my favorite for twenty-five of those years, and I feel like I can say with assurance that his entire history has been leading up to this. My hero is the photographer who lost his father figure; my hero is the painter who speaks Spanish and combs his hair out; my hero is the dancer-drummer who didn’t have to die to matter. I really love this movie.

Okay, I just went back and checked, and that’s almost exactly the same sentence I used to wrap up the last movie I talked about in February. In April I will try to wrap things up with something I hate. And I’ll try to watch fewer than four movies based on Marvel properties, yikes.

February Filmbular: The Return

March 13, 2019 /
  • Stonehearst Asylum (2014): Watched because my former housemate put it on while packing. I miss her, but I wish I had missed this movie instead.
  • The Man in the White Suit (1951): Alexander Mackendrick again, with the kind of movie that earned him a reputation for being “that guy who does light British comedies” and led to people being shocked when he and Curtis made The Sweet Smell of Success. But both movies are made with the same assurance and skill! Mackendrick is so intentional about where he wants you to be focused, even when it’s offscreen. He’ll hold a shot on an empty hallway for five seconds in the middle of a chase scene just to let your anticipation build to the point of laughter. Joan Greenwood does great work as an heiress who turns people’s assumptions about her to her own ends, but I really loved Vida Hope as the salty union worker and foil to Alec Guinness’s nerdy privilege.
  • Jet Li’s The Enforcer, aka My Father Is A Hero (1995): Rented for my intermittent movie club because it bridges a particular gap in my ad hoc 90s Hong Kong Kung Fu syllabus, with a jump from Jackie Chan to Jet Li by way of Anita Mui. Most of this movie is pretty much what you would expect from a mid-period Li vehicle: a functional plot involving tragedy, gangs and undercover cops, filled out by skillful and thrilling fight scenes where people look like they got hurt. What I didn’t know to expect is that the kid-who-also-fights novelty device gets pretty rough! This is a movie where a child gets slammed through a glass table and choked out more than once. That young actor, Mo Tse, had appeared with Li in The New Legend of Shaolin (1994) to great success the year before, so maybe they felt like they had to up the stakes on this one. Regardless, not a movie I’d recommend watching if seeing a kid get hurt bothers you. (It bothered me!)

  • Police Story 2 (1988): I got to see this on the big screen at the Hollywood Theater, presumably as some kind of promotion related to Criterion releasing a new edition of this movie and its predecessor. I don’t know what to say about it without sounding hyperbolic or trite. This is a work by some of the greatest artists of the twentieth century, before and behind the camera, at the peak of their form. It is flawed work—in particular, the jokes can be broad, it glorifies police violence (as you’d expect), and I felt ambivalent about the treatment of its deaf character. But man, who else ever made diegetic music out of steel pipes bouncing off of human bodies?

    I watched In the Mood for Love (2000) back in December, and it’s a minor pleasure to see Maggie Cheung slumming it as the damsel in this movie, just to get a sense of her amazing range. And also to see how many of her outfits would look current and stylish today. Maggie Cheung’s film wardrobe deserves an ongoing tumblr.

  • Grosse Point Blank (1997): Rewatch, of course, on a date to help fill in her Cusack filmography. This is one of the movies that is engraved on my brain. I was still in college the first time I watched it, and I didn’t end up going to my own ten-year high school reunion. But it still works for me and much of my cohort because I think it captures something common about having escaped the place you grew up: the realization that if you don’t look back, there are things you won’t see. And that you won’t be seen again the same way either.

    In May it’ll be twenty years since I graduated, and the characters here now seem impetuous and unsteady to me, no longer dashing and cool. I wonder if the movie will seem more dated in another ten years, or will cross a threshold into being a period piece. But most of my favorite parts of it are throwaway bits: the transition into the Muzak version of “Live and Let Die” at the Ultimart, Benny Urquidez’s perfect delivery of his only line, John Cusack’s repeated sullen “…no” when the movie lets you expect a quippy rejoinder, Alan Arkin’s nonsense mantra recited through a mouthful of burrito, Joan Cusack’s cathartic computer mallet. To me, leaving space for little idiosyncrasies like that is a demonstration of care, and of respect for your audience.

  • Paris is Burning (1990): Found on Netflix (!). I know the production of this movie is controversial, but I’m glad it exists. What an extraordinary document and what amazing people. I wish I’d seen it when I was younger, even though it probably would have scandalized me. (Or maybe I’m not giving Past Brendan enough credit—I certainly latched onto the queer aspects of Rent hard enough in 1996.)

  • The Favourite (2018): An interesting payoff to having now watched 75% of Lanthimos’s feature filmography. I took to this one much faster than the others, and I don’t think it’s a coincidence that it’s the first one he didn’t write himself. It is also not a coincidence that my parasocial devotion to Olivia Colman—dating back to the first time Kevan and Holly showed me That Mitchell And Webb Look in London in 2007—is stronger than ever.

    My experience with Lanthimos kept me on uneasy edge the entire time I watched this, and I think that worked to its benefit. His camera still feels as if it carries a lot of weight: the fisheye swivel he deploys several times, before popping into extreme close-up, is a great way to hammer the audience in the eyeballs. The man loves an eyeball hammer. Yet it’s much less a blunt instrument than in Dogtooth, and the performances he gets from his actors are less blunt too. In The Lobster (2015), Rachel Weisz performs a lot of thrumming strain, lust and fear, but they’re channeled through this kind of formal flesh-robot delivery he seems to ask of his whole cast via his script; he gets your nervous laughter from the sustained tension of distance. In The Favourite, with dialogue that darts and twirls instead of stomping, Weisz gets to apply dynamics to the same emotions. Even when her character is wearing a rigid court mask, she and Lanthimos show you glimpses of the toll on the human behind it. That in turn lets him dial the distance and tension up and down to great effect. I really liked this movie.

That is finally everything I watched in February! This is what I get for staying indoors all month. Now it’s halfway through March and I’ve only seen four movies, so maybe it will only be a couple weeks until my next bulletin, “Brendan Has An Opinion About Captain Marvel (2019)!”

Filmbruary Circular

March 8, 2019 /

As I start to draft this post, I am basking in the confirmation bias that informs me that I am in fact good and smart for having watched almost none of the movies that were nominated for a Best Picture Academy Award, because obviously what do they know. (Green Book was not one of the movies I saw.) I did see Black Panther and Into the Spider-Verse, like all right-thinking humans, and I already knew they were wonderful! Who needs the Academy! Get outta here!

  • The Sweet Smell of Success (1957): In January I watched The Bad Sleep Well because of a brief Every Frame a Painting essay about one shot in it, and then shortly thereafter I went and got this from Movie Madness because that essay has a quick bit about it in the intro, and now I want to see everything Alexander Mackendrick ever made.

    This is not a movie about good people, and is honest about the way selfish men treat women; I say that as context for this clip from early in the first act, as the protagonist is starting to reveal the nature of his character. It’s one of those little scenes—almost all in a single unassuming shot—where you can turn the dialogue off and still read all the emotional beats, but it’s also visually interesting in a way that I am learning to parse out. The whole thing is an exposition dump, but my eyes never get bored! The camera’s point of focus, the actors’ blocking and business, the swing back and forth in composition between crowd scene and private scene as Sidney’s attention wavers and resolves, and the parallax and bokeh happening along the longest axis of the room—all of that works together to make it fluid, interesting and alive, even if you never notice any given element.

    The story is great too, contained within a very specific situation and time that are well-explained even fifty years later, and the love I have borne for Tony Curtis ever since Some Like It Hot is rekindled. There’s a whole chapter in Mackendrick’s book On Film-Making where he just breaks down how the script for one particular scene changed between two writers, and it’s illuminating.

  • Better Off Dead… (1985): Watched on a date to help fill out my Cusack filmography. Not a classic. It might have been if it were a little more self-aware: it’s sort of a refined concentrate of all the ingredients in a “throw it at the wall and see” 1980s mid-budget comedy. I did like the part where the demonic newspaper boy does a chase scene on a BMX fitted with skis, which… you see what I mean about the concentrate.
  • Mission: Impossible::Fallout: (2018): My brother has never forgiven this franchise for its first outing, but I have in time come to like them. This one is very capable and polished, but it’s also the first one in the series written/directed by someone who has directed one before, and it suffers for that! I have some cockamamie theories about the elements of creative works that drive them to popularity in fanfiction, but one of them is that a given book or movie, to get people really invested, has to leave gaps. People love to fill those in, and reveal exciting new connective tissue between disparate points. Sometimes that impulse is fine. Other times, it leads to internet articles about “fan theories,” which is not fine. But worst of all is when it leads a creator to perform… SELF-FANFIC. This is not quite the same thing as self-insert fanfic, and in fact might be worse. Get outta here, self-fanfic! Anyway, that’s what this movie is too, but the part where Henry Cavill cocks his fists is good.
  • The Man Who Wasn’t There (2001): This movie made by Joel and Ethan Coen in the style of a noir from the 50s is a lot like a noir from the 50s made in the style of Ethan and Joel Coen. I found it really interesting to watch so soon after The Sweet Smell of Success, which is about a driven fast-talker on the make and has its own propulsive forward energy, contained in a single long night. This movie is about a man who is impassive and silent to a tragic fault, and it seems to stretch out over about a year. But they share the same fundamental law: thou shalt not try to step outside one’s station, even one freaking time. This also earned a rare exemption from my own fundamental law (“thou shalt not use voiceover narration”).
  • Dogtooth (2009): Hoo boy. I saw The Lobster a couple of years ago and so had some hint of what I was in for, but the darkness of The Lobster is often funny, and gains some aesthetic distance from its magical-realist setting. No one seems to be able to agree about whether Dogtooth is a black comedy or a drama, but I didn’t laugh at it, and despite the absurdist false-vocabulary central device, it felt very close to real stories of captivity and abuse. All the long takes achieve the tension they aim for, and some are even beautiful, but the camera still feels like a blunt instrument.

  • The Parallax View (1974): I rented this movie because I vaguely thought it was a Cold War spy-chess-game thing. I don’t know what I was thinking of, because this is actually a meandering, paranoiac conspiracy thriller with a Sprockets video in the middle. I didn’t like it.

    The most interesting part is how it attempts to evoke generational fears that are different from my own. It’s not much of a spoiler to say that, by my count, every living political candidate in the United States gets murdered by lone gunmen in this movie. (Don’t worry, there aren’t any well-drawn villains with comprehensible motivations behind that.) Meanwhile, in a scene that stunned me, Warren Beatty walks directly onto a tarmac from his parked car, gets on a plane, and then buys his ticket from a flight attendant while already airborne. And it’s not like the threat of hijacking didn’t exist already! The plane gets grounded by a bomb threat! But the configuration of our panic buttons has changed.

  • The Emperor’s New Groove (2000): Rewatch. Reading a little about the background of the movie made me want very much to watch The Sweatbox, and learning that its in-flight course change was “hey what if we just made a Chuck Jones cartoon?” repositioned it in my estimation. It’s still a middling to fine movie with bright spots (Eartha Kitt), but it’s also the only time we will ever what the see 90s Disney animation corps makes of a feature-length Looney Tune! I’m glad it exists for that reason.
  • How to Train Your Dragon (2010):

And with that, I will temporarily leave you, because I need to post this already and I watched FIFTEEN MOVIES in February. That trend will not continue, but now I do want to see if I can get through a hundred this year. I will write about the other seven later on, but for now… “get outta here!!” ;D

As long as I’m doing the “remember that I have a blog” thing this year

February 12, 2019 /

I’m writing here about something that happened last fall; at the time my feelings about it were varied and fraught. In the early days of this web site, when no one read it, I would write about events in my romantic life in a very granular way. As this web site approaches middle age, when no one reads it, I have learned by example to be reluctant about sharing the specific and intimate with a world where search engines are used to destroy human beings. But this feels worth recording.

I am in love with my partner Kat, and we’ve been together for over three years. We live in different cities and we date other people sometimes. Kat has a girlfriend named Sophie, a wonderful writer who wrote a wonderful book about dating people other than the (wonderful) person she married. As part of promoting the book, Sophie submitted a column about falling for Kat to Modern Love, and that is how I ended up with a cameo in the New York Times.

Kat and I were actually in New Orleans for Sophie and Luke’s wedding when the American paper of record published details about my relationship that would be readily identifiable to anyone who knows either of us. The wedding was beautiful, and reading the column the morning after was surreal. I was simultaneously very elated and very worried that unforeseen consequences of the publication would come back to hurt me or the people I love.

Such consequences have not yet come to pass. No one has shunned or shamed or exposed me, and my fear has receded, leaving the elation behind. I’m the happiest I have been in any relationship and, despite my worries about the world’s future, I’m excited about our future. And if I was going to pop up in the Sunday NYT somehow, this is pretty much the best way I can imagine that turning out.

January Movie Roundup

February 5, 2019 /

January Film Roundup is the intellectual property of Leonard Richardson and Nowhere Standard Inc. Any resemblance to actual film roundups living or dead is purely incidental.

A thing I did in 2017 that I’ve never actually recorded here was buy a house in Southeast Portland. More about that some other time. An important thing about this house, to me, is that it’s within walking distance of Movie Madness, the best place to rent movies in the world. Later in 2019 I’m going to leave Portland after eleven years and move to Chicago. More about that also some other time. Until then, I want to take great advantage of my proximity to the little cinder block building that just has… every… movie… in it. These are the ones I watched last month.

  • My Best Friend’s Wedding (1997): Kat’s favorite. I used to watch and basically believe in romantic comedies, a fact which may shed light on some of my permanent emotional scarring. I stopped watching in the early oughts, when the movies stopped being good, but I think I did see almost all of the nineties classics except this one. I liked it but I’m glad I didn’t see it at the time; I would not have appreciated it.

    Having read nothing about its production, here’s my imaginary series of events: Ron Bass sees Mr. Wrong and The Truth About Cats And Dogs in 1996, then writes a combination of the two as a vehicle for Janeane Garofalo or someone Janeane Garofalesque. A studio buyer says “Ron, I love it, but why don’t we see if we can shoot for someone more… Julia Robertsesque.” Then the actual Julia Roberts, tired of being pitched on romantic comedies because it’s 1997, reads it and says “I would enjoy taking my own subversive turn at playing a sociopath,” and what you end up with is this strange world where Dermot Mulroney plays a human tree stump who’s marrying 20-year-old Cameron Diaz yet who has never in his life considered any attraction to Julia Roberts (who is in turn willing to ruin his life to have him).

    I grant you that this is the same disbelief you are asked to suspend when The Truth About Cats And Dogs sets up its false dichotomy, but at least that is predictable Hollywood logic at work. Roberts gets her teeth into this anyway and has a great time, which is fun to watch, and so does Rupert Everett, who you already know is the best part of the movie even if you’ve never seen it.

  • Night of the Living Dead (1968): I think I saw this nineteen or twenty years ago and my recall of it was more accurate than I expected. I like it, but I would not have felt a specific need to rent it except for one thing: I seem to be among few Every Frame a Painting superfans to have discovered that last year’s Criterion reissue has a hidden Every Frame a Painting on the bonus disc.

    To say that Every Frame a Painting meant a great deal to me is to understate. It turns out I am still grieving it, and—as is obvious to the point of pain—grieving the world I thought I was living in when its last video was posted to Youtube in September of 2016. Grief leads me to magical thinking, and so, of late, my brain has tried to conjure the past via whatever ancillary frames I can find. There are at least a couple more essays they produced for Filmstruck, a service which decided to shut down just as this bout of grief made itself known, that I haven’t found yet. But I have found three others (on The Breaking Point, His Girl Friday and Tampopo) in physical format at Movie Madness.

  • A Taxing Woman (1987): I enjoyed Tampopo so goddamn much that my friend Theron recommended I try to track this one down, the movie Juzo Itami made after it with the same leads. Even Theron had only ever seen this on VHS, but Movie Madness had it on DVD, because they have… every… movie. Tampopo is somehow a Western about cooking noodles, so of course this one is a gumshoe tax fraud noir in a world where everyone is constantly trying to cheat on their taxes. The genre twist I liked is that this time the detective character is on the offense: she’s the one who barges into other people’s offices, smelling like trouble. It’s fun just to see Nobuko Miyamoto and Tsutomu Yamazaki stretch their rapport into something wary and oppositional instead of bittersweetly pedagogical.

  • The Bad Sleep Well (1960): Three out of four of this month’s movies are directly derived from Every Frame a Painting, a trend which I expect will continue. This one got its own mini-episode about one scene—actually, about one shot—and I successfully used that to walk myself backwards into watching my first Kurosawa movie in decades. I enjoyed it.

    I used to get bored very quickly by any movie I perceived as “old.” The only way I knew how to interpret film was through plots, which I tended to find either obvious or incomprehensible in the classics, their dialogue, which I found unrelatable, and their set pieces or action scenes, which I mostly found cheesy. Yes, this is callow, but I don’t think it’s uncommon! I could write at length about how standard liberal arts curricula can fail people, but fundamentally, putting complex art in front of someone and declaring that it’s valuable by fiat doesn’t work. I have seen so many movies without knowing how to see them. Modernist artistic complexity is a locked door with treasure behind it, but if the keys you have for the door don’t open it, the fault is not with you.

    Every Frame a Painting showed me doors I didn’t know about, and nudged them open for me. I notice when my eyes are active in the frame now! I can identify different kinds of cuts between shots, and I notice when the camera directs my attention amid complex blocking. I can appreciate it when action and reaction are both in the same shot, or when one shot just set me up for its successor. I haven’t quite managed to catch compositional sectioning in action yet, but at least I know it’s out there to be recognized.

    Each of the previous Kurosawa movies I’d seen (Ran, Throne of Blood, Rashomon, The Hidden Fortress and Seven Samurai) were things I found nebulously cool and even striking, but like Michael Bay, I couldn’t have articulated why. With The Bad Sleep Well, I can tell you this much: I like it because it doesn’t matter whether I speak Japanese or whether I speak cinematic shorthand (or whether I know Hamlet). I like it because it told me a harmonic story with its acting, its writing, its music, its composition, its costuming—in monochrome!—and its editing all at the same time. It uses its bandwidth well in concert, and a broader band means richer media.

    I also liked it because Toshiro Mifune is nebulously cool.

It took me a while to hash that last point out with myself, so now it’s February 5th and I’ve already seen three more movies and rented a fourth. I guess we’ll see how long this keeps going, and also how many choices of movie I can tie back to Every Frame a Painting somehow. Maybe Leonard will forgive this format infringement if I tell him that I am about to finally get around to watching The Man Who Wasn’t There.

General Clap

July 27, 2018 /

Hey, I finally discovered that back in May I placed in the 2018 Lyttle Lytton contest! Specifically I placed with an entry in the Found division—just scroll down to where my name is spelled wrong. I am proud even though it’s not like I wrote anything for it. But the reason the biggest category on this old blog is called “connections” is that I still delight in plugging one thing (a bad sentence I read) into another thing (a web site I love).

And there are a lot of connections that really worked for me in this year’s list! It’s good company to be in. Not only did another Found winner pull an egregious bit from my most hated episode of one of my all-time favorite shows, but there’s an entry under the Perennials that recalls my first entry. There are bullet journal and Engagement Chicken jokes too (hi Kat). But the thing that really rang my bell was seeing a semi-vanished webcomic writer—someone I still admire—pop in with a brilliant entry, and Adam Cadre give her a wink and a nod. I don’t chase the Internet as hard as I used to, but I’m glad the cool-kid serendipity of a decade ago isn’t all gone.

I often consider locking all the older entries on this blog

July 10, 2018 /

But that would prevent me from making deep cuts like this: Mitch McConnell spoke at my college graduation. I was very young and very tired when I wrote that entry, and McConnell, though well into his career, was not quite the architect of enormity he has since become. Elaine Chao spoke too, and it’s amusing to me now that I called her a “fervent liberal.” I wonder what I’ll have to laugh at fifteen years from now.

This came to mind because earlier this week, McConnell got harangued at a restaurant in Louisville, and because when I read the story I realized it was a restaurant I know. I feel compelled to explain why I find this amusing as well: the Bristol is maybe the worst place you could pick to eat on all of Bardstown Road.

It’s an iceberg-salad, sirloin-well-done kind of place, where everything costs about twice and tastes about half what it ought to. It’s also right in the middle of some of the best food in the city, and for that matter in the state. McConnell is among the most powerful living humans and a multimillionaire; he could afford to eat every night at Jack Fry’s, 80-odd years old and still killing it, or get the farm-to-table prix-fixe menu at Lilly’s, both within a few blocks of the Bristol. Those were once-a-year treats when I was digging myself a debt hole there back in grad school. McConnell could have thrown a stone and hit someone’s baked brie or lamb burger at Ramsi’s Cafe on the World, or turned the other way for a thick, crispy Louisville-style pizza at Impellizzeri’s, which still has an hour wait every night. He could have had the most delicate fish I’ve ever tasted at Seviche. He could have gotten his teeth stuck on the candied short ribs at North End Cafe. For fuck’s sake, he could have gotten better food at Burritos As Big As Your Head.

But he went to the Bristol, possibly because none of those other places would lower themselves to seat him. And he got overcharged for probably a tasteless beer and a milquetoast burger that would recoil from the notion of spice. Forgive me if I hope someone spat in it.

This post is mostly an excuse to make myself hungry thinking about how good it smells just to walk past open doors on that street, and how fond my heart is of that place and time. Lynn’s Paradise Cafe isn’t there anymore, or Nio’s 917, or Twice Told, and neither are most of the friends I used to sit down to dinner with. But Louisville is still home to much of my family and to a lot of restaurants that punch way above their weight. You have to really love something to make it that good, in a small city. If food is a way of feeling, then I think taste is a way of caring, and in at least those little ways, our little lives are better than his.

I’m definitely not redirecting any anxiety about my grandmother having blacked out and fallen twice in the last two weeks, by the way

May 11, 2018 /

My whole life I have been surprised when art is more transparent than I think it is. If I admire a person’s work then I tend to project onto the creator a sort of aloof mastery, as if technical skill implies utter detachment from the fiction: every first-person narrator a character, and every character held at an amused distance. Which is a myth I think many artists would like to exude about themselves. But then I keep finding out that part of the autobiography is fiction, and the fiction is the autobiography.

There’s so much self-loathing in Frightened Rabbit lyrics. The darker the tone of the loathing, the more I have identified with those lyrics, and held them close. But I didn’t really believe that Scott Hutchison was referring to himself when he sang “I’ve got a voice like a gutter in a toxic storm.” I didn’t think he was actually rejecting his own work when he titled an entire album Pedestrian Verse. He had a beautiful voice and his verse was soaring even when it plunged. He could not have believed the converse about himself, I assumed, not in the face of the evidence.

Now I feel like Minnie Driver in Grosse Point Blank, saying, People joke about the horrible things that they don’t do. They don’t do them. It’s absurd. It is absurd. When I saw that he was a missing person, I thought, oh no, please don’t find him in water. Don’t let my favorite Frightened Rabbit song be a foreshadow. And then I thought, well, the things I guess are never right, so by imagining that course of events I have protected him. This person I don’t know and never met.

The tenth time I typed in his name today to see if they’d found him yet, the news had nothing, but Google suggested that I might try searching for “scott hutchison forth road bridge.”

Part of the reason I keep thinking art is buried in layers of swirling mystery is that I came to popular culture a little late, and music even more so. I take it for granted that everyone else got a head start on understanding it in middle school and I, at 37, have somehow never caught up. I have never felt the same attachment to most of the famously dead musicians that my peers have. But Frightened Rabbit came to me out of spiritus mundi, in a tiny anonymous twitter game I made with my friends, so their music was Mine in a rare way. I can’t count the number of times I have pounded up a Portland hill with my feet matching the drums in “Swim Until You Can’t See Land.” Actually I can count, it’s in iTunes. 68 times. That’s how often my headphones have set my pulse to its beats per minute. That’s how often I have flogged myself onward with its chorus under my breath, demanding, are you a man? Are you a bag of sand?

I’m sorry for not believing you meant what you said, Scott. The pain in Frightened Rabbit songs has been a grounding wire for mine, at times when it built up to the point of danger. I’m sorry none of us could protect you in return.

August 11, 2017 /

Certain aspects of Seattle are borderline acceptable

I have attended Go Play NW every summer that I’ve lived in Portland, and it’s always one of the best parts of my year. The final game I played there, back in July, was a hastily assembled impromptu session of Blades in the Dark—a fantasy-urban-pseudo-19th-century heist game. I had left the afternoon slot empty for myself, hoping for a chance to play a game with one of my favorite Matthews, and when he finally rolled up an hour later he had a whole crew of Californians and one new guy they had swept up with them, named Randall.

Blades was a new system to all the players, but most of them were acquainted with games in its general mode; Randall, meanwhile, had only played D&D in the past, and was affably along for the ride. I liked him very much, and we had a lot of fun. Afterwards, waiting for my friends to gather so we could head home, I talked to him about his experience over the weekend. It turned out he hadn’t exactly planned to attend the con; he was in town for a family wedding, and had just searched for interesting things to do while he was in the area.

“So you’re not from Seattle?” I asked.

“No,” he said, “I’m from Guam.”

I really hope that, in a year or so, I have to struggle to remember why I’d be thinking about him today.