AssassiNation: Tales of Consumerism, Souls Ablaze

I awoke to the sound of the World grinding her teeth.  It was a low rumble: sand and rocks rubbing unevenly together against a smooth surface: the crunch of dry, old bones under the feet of some monstrous predator.  I was at the roof of the Earth, in a house that was and wasn't mine; I lived in a State of Flux, and every second threatened to crumble around me.

I was hungry.  But not for food. 

The rumbling was getting closer.  Soon I was enveloped in it.  Wrapped in it, like a deep-fried pogo at the state fair in the sweltering heat of July.  There was no cooling off.  Not at times like these.  Even my piss was like a stream of scalding hot magma, hissing as it hit the stagnant waters of the mine-but-not-mine toilet.  The air shimmered around me.  I couldn't swallow.  Couldn't think.

I was hungry.  This time, for food.

Captain Crunch.  That was all I could think.  I hated that shit, and I doubted we had any in the house, but I checked anyway as the sanity was slowly being ground to a fine powder in the red-hot cauldron of my skull.  What the fuck is this?  Who bought Captain Crunch on my watch?  Who brought it into my house, right under my nose?  Who would stock my cupboards with this junk?  The same people who would stalk the ferris wheel.

Life Lessons from Robert De Niro

Life can get confusing sometimes. Sometimes it’s difficult to know where to turn to get some answers. Thankfully, there has always been one, unwavering source of inspiration and guidance that has been counted on throughout the ages as a pillar of Truth and Right Living: Robert De Niro.  The De Niro has spread his gospel though his generous ministry of full-length feature films through which he has depicted a multitude of everyday, average men just trying to make their way in this crazy, workaday world of ours: gangsters, comedians, gangsters, taxi drivers, gangsters, parents, jazz musicians, gangsters, professional boxers, war veterans, mental patients, Frankenstein’s monsters, gangsters, cops, priests, anthropomorphic animated sharks, bank robbers, low-level street thugs, ex-cons, and gangsters.

The De Niro works in mysterious ways, and though the characters he portrays are often morally questionable for the most part, each one has one or more life lessons to impart to those of us who didn’t always want to be a gangster for as far back as we could remember.  For those whose minds and hearts have been opened to the Word, then prepare yourselves for this small taste of the bounty that THE GOOD SHEPARD has prepared…

Lacking an Alternative: Sherlock Holmes and the Best of All Possible Worlds. Deduction is as Deduction Does… Life is Like a Scratched iPad

You're probably an idiot.  The odds are stacked incomprehensibly against you.  Unless, of course, you happen to be Sherlock Holmes.  Next to him, however, no matter how smart you are, you are still a total fucking moron by comparison.  The version of Sherlock Holmes as portrayed in BBC's Sherlock (co-created by Steven Moffat and Mark Gatiss)  is something of an insufferable prick.  Despite the fact that he exists at the very centre of a veritable whirlpool of arrogance and narcissism, there's something universally endearing and relatable about this modernized take on the Sherlock Holmes mythos, and we seem almost inescapably drawn into those swirling, mruky waters.  Inexorably, like a man on death row about to be hanged (not hung).  There's something about Sherlock Holmes that transcends his Victorian trappings and speaks to the very core of the human experience.

Even though the titular character of Sherlock represents the epitome of cold, hard, logical reasoning and stands as an ideal both for Outstanding Achievement in the Field of Excellence and startlingly anti-social behaviour, he is also more relatable to the common man than he may appear at first glance than other more apparently "human" versions of the character.

Surrogates for Intelligence... Missing Links, Hated Avatars

I'm pretty sick of this shit, Bruce Willis.  We live in strange times.  On the one hand, we're constantly being sold on the idea of progress and the achievement of human potential, while on the other hand, we're being bombarded with conflicting ludidtic, anti-technology propaganda.  And it's a total crock of shit.  I was watching the Bruce Willis vehicle SURROGATES the other night in an effort to use up my stockpile of nearly expired, military-grade popcorn that I had accumulated in my lead-lined underground shelter that I had constructed so I could watch movies in peace during whatever apocalyptic view of the future that Roland Emmerich has envisioned came to awful fruition.

SURROGATES started out with an intriguing premise; the advent of advanced robotic and AI technology provides people with the opportunity to experience the world through cybernetic avatars that allow them to experience all of the pleasure and none of the pain through some kind of neural interface.  The vast majority of the human population embraces "surrogacy" while a few hold-outs led by The Prophet (Ving Rhames) prefer to live on reserves, embracing a low-tech agrarian lifestyle devoid of most forms of technology except for an ass-ton of fire-arms and accompanying unlimited supplies of ammo, because apparently the only technology worth embracing is the kind that you need when you absolutely, positively got to kill every last motherfucker in the room.  (Accept no substitutes.)

Where Have All the Good Ant-Men Gone? Send in the (Corporate) Clowns

No, not Aunt-Man, Ant-Man.  Yeah...

Last week, a bomb was dropped in the Marvel cinematic universe even larger than FANTASTIC FOUR: RISE OF THE SILVER SURFER.  It seems that the upcoming ANT-MAN movie based on nobody's favourite (sort-of) superhero is short one director now that maverick British director and beard connoisseur extraordinaire Edgar Wright parted ways with the Marvel juggernaut over "differences in their visions of the film."  And because in the official press release it stated that the split was "amicable," we can be all but assured that the opposite is in fact true.  It's one of those things that we'll never know all of the details about even though we actually do know all of the details.  Like when that nice couple from next door whose yelling and arguing you've tried not to eavesdrop on out of a sense of propriety finally breaks up and you feign ignorance to be polite.

Growing Old But Not Up With King Arthur: Hanging out at The World's End

There are very few things that most people can agree upon, but one of those things is that growing older generally sucks big old deep-fried grizzly balls.  The inevitable ebb and flow of time causes us to drift towards that final unimaginable expanse of ocean until we are finally swept out into the unknown by the tide or, if we're really lucky, a tsunami that lets us take a lot of innocent people with us.  One of the most commonly occurring and overarching themes in human culture is the tension between youth and old age.  That dichotomy between childhood and maturity is pretty readily accessible by almost everyone because, unless you're Cher, aging is a pretty universal human experience.  It's an easy way to mark our progress through life, and that sort of temporal delineation has become a common trope to draw upon when constructing one's identity.

In Stephen King's introduction to the latest edition of his seminal Dark Tower series (which I've recently delved into with the gusto of a fiend desperate for his next fix of devil grass), he taps into what I think is a pretty fundamental cultural sentiment regarding the temporal forces at play in the very bowels of our collective souls:

"Another thing about being nineteen, do it please ya: it is the age, I think, where  a lot of us somehow get stuck (mentally and emotionally, if not physically).  The years slide by and on day you find yourself looking into the mirror with real puzzlement.  Why are those lines on my face? you wonder.  Where did that stupid potbelly come from?  Hell, I'm only nineteen!  This is hardly an original concept, but that in no way subtracts from one's amazement"

What King's insight illustrates is that Cusp between childhood and maturity, a sort of balance that we struggle to attain between the shit-kicking, conquer-the-world mentality of youth and the world-weary pragmatism of experience that alludes so many of us. I think that sometimes we tend to fall into the derogatory with the denunciation of middle-aged men or women "acting like they were teenagers," but I think what's at issue in that case is an imbalance, with youthful exuberance and its accompanying stupidity winning out completely over the tempered wisdom that comes only with age. Of course, this may be small comfort when the subject in question ends up fucking a coworker or spending Junior's college fund on some shitty American sports car, but the point remains that the goal is neither the eradication of youth nor the total denial of one's ever-accumulating chronology but a balance between the two.

Speak Softly and Wail on a Big Guitar. Treadlightly into the Future

An old friend of mine, Andy, recently informed me that he had joined a band.  At first, knowing Andy, I had assumed that it was a euphemism either for going on yet another of his famous heroin binges, drinking the menstrual blood of a Bengal tigress, or getting a pop rock blowjob from a French Canadian drag queen.  Considering his propensity for strange code words, drugs, and bizarre sexual fetishes and the look of pure, unbridled ecstasy bursting from the depraved depths of his eye sockets, none of these would have surprised me.  It took some explaining on his part, but I was finally made to understand that in this particular instance "joining a band" actually meant "joining a band."

Andy had recently beat a bad rap and a long jail sentence by instead agreeing to direct his energies into an amateur musical endeavor as part of a Work Release Program for the Criminally Disenfranchised.  In yet another "misunderstanding" after a series of unfortunate circumstances in which Andy's propensity for going out in public wearing nothing but a bath robe and public urination coupled with his relative inattention to his geographical location--in this case, in front of an elementary school full of young, impressionable youth--served as that Perfect Storm of probable cause that whip police into a killing frenzy as they are all but guaranteed to arrest and/or beat the living shit out of various levels of miscreants and scoundrels.  Somehow, Andy had talked himself out of serious jail time in one of only two cases in recorded history where playing a bass solo in the courtroom was accepted as a closing argument for the defense.

Ben Affleck was the Bomb in Phantoms

"Batman?"  Oh yeah, he sounds like a real badass.  He
dresses like a flying rodent; I've modelled my persona
on the Prince of Darkness.

I never realized how much people seem to completely despise Ben Affleck until it was announced a while back that he would be the next actor to don the mantle of Batman on the silver screen in the upcoming and as-yet untitled sequel to MAN OF STEEL.  The Internet exploded in a veritable orgy of insults, inflammatory comments, and libelous denunciations that made it seem like Affleck had committed some terrible atrocity or defiled people's mothers en masse.  It seems as though there was a good old fashioned feeding frenzy, and all it took was announcing that  an award-winning, commercially successful actor who had tapped asses most mortal men could only dream of would be taking on the role of a fictional billionaire who dresses up in a bat costume and uses his ninja skills to beat the shit out of killer clowns and alligator men.

In what now seems like an eerily prophetic turn in JAY AN SILENT BOB STRIKE BACK, Affleck, reprising his role as Holden from CHASING AMY, aptly boils down the seeming triviality of our use of new digital media: "The Internet is a communication tool used the world over where people can come together to bitch about movies and share pornography with one another."  And in one sense, it is trivial to complain about which overpaid Hollywood actor best fits within the confines of preconceived notions about what a fictional character would actually be like.  It seems people tend to get caught up in the futile pastime of trying to prove themselves right on the Internet - a medium that by its very nature seems to thrive on dissent - and forget the fact that "These are fictional characters. Fic-tion-al char-ac-ters. Am I getting through to you at all?"

In Space No One Can Hear You Scream, but on Earth Everyone Can Tweet Your Death

I had never heard the name H.R. Giger until watching the special features on my ALIEN DVD a few years back.  He was the man most directly responsible for the iconic design of ALIEN's titled antagonist, which, like life itself, was equal parts horrifying and beautiful.  I suspect that most people who don't have time for DVD special features (you know who you fucking are) might not have even been aware of his existence until it ended on May 12, 2014 and his name made the news in connection to his most famous creation.  He was a visual artist, though I can't personally speak to his success in those circles as I don't typically follow the "art world" to any meaningful degree (read: at all).  All I know about H.R. Giger is that he created one of the most innovative and memorable character designs to come out of Hollywood from a time when film makers were still allowed to do cool shit, and that his name itself sounded like it came straight out of a sci-fi movie.

I'm not sure what H.R. Giger was like in real life or even in a workplace environment, but for me his alien design represents a fundamental shift in the way Hollywood and raconteurs in general approach their material now and common audience expectations. Back in 1979 when ALIEN was first released, there was a different ethos that existed around narrative art forms than exists today. With the modern propensity for sequels and franchises, the current trend it toward mythology-building instead of storytelling. The mythology-building tendency is perhaps best exemplified by the recent onslaught of Marvel movies chronicling the (mis)adventures of everybody's favourite (and not-so-favourite) Avenging super heroes.

May the 4th Be With Us All

Suck my balls Episode II can.

May 4, 2014, marked the annual unofficial celebration of an indelible part of pop culture history that has - for better or worse - contributed to the psychological development of countless grown men and women including, perhaps most notably, the proliferation of the "slave girl" sexual fantasy. May 4th has proliferated as an international day to recognize anything and everything related to the STAR WARS property (as if it needed any more recognition) due in large part to the date's name being easy fodder for geeky punsters ("May the Force/4th be with you.") who don't mind taking the chance of sounding like an offensive homosexual stereotype and the ability of the Internet to propagate information faster than people can effectively evaluate its relative worth.

In honour of the occasion, I decided to watch the originator and slapped STAR WARS (no fucking Episode IV bullshit) into my Blu-Ray player.  As I watched what had undoubtedly been a formative text in my own personal psychological library and recited entire scenes word for word (much to the chagrin of my wife), it dawned on me what imperfect movies STAR WARS and all of its sequels and (even more so) its prequels actually were.  In fact, even as a huge fan of the series, there is still a lot of stuff, even in the original trilogy that I had grown up loving, that is either really laughably bad or patently ridiculous or some combination thereof.  

Despite the fact that STAR WARS was (aside from the special effects) quantifiably a B movie, it was - and still is - pretty fucking awesome.  It wasn't because of the originality of the plot, which is filled to the brim with cliches, convenient coincidences, and (perhaps unsurprisingly frequent) lapses in logic.  Let's face it, STAR WARS is not exactly the epitome of storytelling genius.  It wasn't because of the acting, because even Sir Alec Guinness and Harrison Ford, the arguable acting heavyweights of the film, could only elevate the dialogue only so far.  As a moral tale, it didn't really say anything that hadn't been said before or present the nuances of morality.  In fact, it does the exact opposite, simplifying morality down to a really basic good versus evil dichotomy exemplified, of course, by the Light Side/Dark Side of the Force.