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I’ll give you this, Lost-ies: the first season was pretty good. By the end of the second season, however, I was annoyed. I’ll give it credit for trying something different–and I use “different” here in the strictly value-neutral sense. “Different” is only different until it suddenly isn’t. Read the rest of this entry »

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The moment you’ve all been waiting for has arrived. Here it is, the thrilling conclusion of the quiz from Sergio Leone and the Infield Fly Rule which I began in the post before this one. Let’s get right to the action:

  1. Best Film of 1979.
    Absolutely, definitely, and unequivocally Manhattan.

  2. Most realistic and/or sincere depiction of small-town life in the movies.
    The one that made the biggest impression on me was All the Real Girls.
  3. Best horror movie creature (non-giant division).
    Read the rest of this entry »

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George Carlin is gone. Damn it. I never got to meet him.

carlinPeople who know me well will attest that in a normal conversation, it’s quite common for me to quote George Carlin. It’s no accident: he was so prolifically funny and insightful for so long that he covered the majority of topics relevant to our lives at one time or another. More than any other individual source, George Carlin’s stand-up formed the basis of my comedic sensibility. He showed me what comedy could be—that its full effect extends well beyond what is merely funny. His wit was restless, impatient; it tugged persistently at the uneven corners of our society.

When I was about 11 or 12, his 1972 album Class Clown became the first comedy recording I ever owned. I brought that LP home, listened to it, and then listened to it again. And then again, a few more times. Soon his brilliant riffs were committed to my memory (where they remain), and I returned to Tower Records in Mountain View to repeat the process with another opus from the Carlin catalogue. LPs gave way to cassette tapes – easier to store, useful for my new, bitchin’ bright-yellow Walkman, and good for comedy recordings because the eventual decline in audio fidelity didn’t matter so much.

As I’ve mentioned, his penetratingly funny insights are too numerous and wide-ranging to recount. Here’s just a few, off the top of my head. George, forgive me if I paraphrase.

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Pure Male Fantasy

The NFL and the TV networks have my old buddy Jason to thank, because quite possibly the only reason I’m still a fan of pro football is the fantasy football league that he brought me into a few years back. I’m grateful to J for this as well (see also his picture in the sidebar of this blog’s home page), because I had meandered away from sports fandom at the time, and hadn’t realized that I missed the catharsis that it provides. Obviously actual participation in athletic competition generally benefits one’s personal health in a way that vicarious participation does not; indeed, the manner of vicarious engagement with sports practiced by many these days is, conversely, a health liability. Versions of this observation are often expressed by those who disdain sports fans, generally because they envy the fan’s enjoyment of something which they themselves haven’t bothered to understand.

For men, myself most definitely included, there is perhaps no more reliable trigger for juvenile recidivism than football. The brilliance of fantasy football is that it capitalizes upon this behavioral rewind. Love it though I do, I’ll be the first to admit that there is something fundamentally laughable about a group of ten grown men (or in the case of our league, nine men and one woman) selecting our own “teams” of actual NFL players and then pitting them against one another in weekly contests, with points awarded on the basis of the players’ real-life statistics. “Fantasy” is the operative word here – football is made into a fantasy role-playing game, and its participants into a sports version of D&D nerds. We fantasize that these players are our team, of which we are the head coaches and general managers. Although many fantasy footballers would bristle at being compared to Dungeons & Dragons aficionados, I imagine they would prefer this connotation of the word “fantasy” over its other most common usage: sexual fantasy, with which I’m sure you’re all familiar. If you’re not, you really need to stay home more often.

We in the Whiplash League leaven the essential absurdity of fantasy football with a healthy dose of self-mockery. For example, consider some of the names we’ve given our teams and the stories behind them:

Hippo logo

My team is the E.J. Junior, Sr. Junior High Grumpy Hippos. The “hippos” portion was because it seemed wrong that the big game animal that consistently kills more people than any other has never been respected as a suitably badass mascot. The inspiration for the first part of the team name came from Roy Blount, Jr. during one of his frequent stints as a panelist on NPR’s comedic news show Wait Wait… Don’t Tell Me!: [audio:ejjr-wwdtm-20050709.mp3]

Ottawa logo

A jocular Floridian named Greg manages a team currently known as the Ottawa Modified Death. It works because it sounds suitably threatening but is actually kind of New Age-y, as explained in the online comic strip Achewood, from which it originated. Thus is also explained its beer-label logo, except perhaps for his use of the techy slang term “root.” He is an imaginative trash talker, and one not averse to typing under the influence of… well, various things. When I joined the league in 2001 his team was called the Battle Creek Brickbats; he then passed a few seasons as the Swannanoa Anonymous before becoming the OMD.

Hall Monitors logo

The Howey-in-the-Hills Hall Monitors are a fantasy football anomaly by virtue of their being helmed by the aforementioned Greg’s wife, Donna. When she took ownership of the former Deerfield Dogboys in 2003, her introductory email wasted no time in establishing their new identity, saying, “…I look forward to leaving the Dogboy legacy behind and beginning my dynasty anew! For starters… I would like to formally announce my team’s new name. Anyone driving north on I-95 on Florida has seen signs for a sleepy little town know as Howey-in-the-Hills. Nothing much happened in this fair city, until a band of rogue hall monitors took control of it and have subjugated all townspeople to a life of Hall passes and wedgie patrols, in a reign of terror at times horrific yet simultaneously erotic. In their honor, my team shall now be called the Howey-in-the-Hills Hall Monitors. None shall pass!”

Squatch logo

The Arkansas Rabid Sasquatch are guided by the hand of Johnny G, an actor, musician, and native of that southern state. He has expressed his preoccupation with Bigfoot quite lyrically in “Arkansas,” which is track 4 on the self-titled debut CD by his band Good Ol’ Country Railroad, which I enthusiastically recommend. His emails within the league, however, take on a brutish, cro-magnon voice, and often culminate with the rallying cry “UP COME THE ‘SQUATCH!!!” He sometimes even forms doggerel-type verse, like when another owner challenged him by saying that their upcoming match would take place in the Ozark burg of Booger Holler, “where we shall meet and settle our split so far this season, if you dare!?!” The Squatch answered, “Dare!? Are kiddin’ me?! SASQUATCH LIVES IN BOOGER HOLLAR! …Here we come clumpity clump / Crack your bones humpity hump / Shake the tree clumpity clump / Break yer knee humpity hump / Up we come thumpity thump / Kick your rump rumpity rump / To Smoke your weed puffity puff / To make off with your stuffity stuff!… UP COME THE SQUATCH BABY! UP WE COME!”

Opa Locka logo


The owner of the Opa Locka Bowlsnappers, an actor named Heath, has of late justified his team’s name thoroughly. The Whiplash championship game at the end of each season is called the Snap da Bowl, invoking the image of what a hungry dog does to his dish when he’s done eating (appropriately, the 3rd-place game is called the Scrape da Bowl). Although the host of our league’s site is down at the moment, I believe that Heath has snapped the bowl two of the last three years, thanks in no small part to my ineptitude in the 2002 draft. Not yet understanding the superior fantasy value of running backs over all other player positions, I used my first pick in the draft on rookie quarterback Michael Vick, who was never a reliable fantasy-points producer and is now, for well-known reasons, dead to me. Heath, with the second pick of the draft, was thereby free to take a rookie running back named… LaDanian Tomlinson. As for Opa Locka, I only recently learned that it is an actual town in Florida and not some jokey contrivance. Heath originally proposed the name in an email that read, “You might as well put me in the ghetto and call my team the Opa Locka Bowlsnappers. That’s where all the funky snappy comes from anyway. And Dan, can we please not abbreviate to Snappers on the website? I like the Supersonics that way too, not the sonics. If the site won’t let you do it, then I’ll just have to eat it. And by the way, thank you in advance for putting up with me being a little bitch. I got sand in my pussy and [Jason] won’t trade me Shaun Alexander, so there it is.”

This has gotten long. I’ll have to save the other five teams for another post.

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I was just listening to an episode of the reliably interesting radio show This American Life called “Quiz Show.” The second of the episode’s three segments was about the MIT Mystery Hunt, an annual event where teams of intimidatingly brainy puzzle geeks race each other to the solution of a puzzle concocted by the previous year’s winning team. The following passage about what the reporter calls “‘A-ha!’ moments” traveled the boomerang path of irony to cause me an “A-ha!” moment of my own:

[audio:TALclip_lynchandpuzzles.mp3]

Are absolute Answers a human construct, while the underlying Truth in nature is not knowable in such terms? I was immediately reminded of the works of filmmaker David Lynch, in particular his briefly brilliant TV series Twin Peaks, which aired in the early 1990’s.

Twin Peaks still-frame

A typically atypical Twin Peaks scene.

As many will recall, the plot of the show concerned the question of who killed Laura Palmer, the high school homecoming queen in an obscure northwestern logging town. The ABC network promoted Peaks by following the “Who Shot J.R.?” paradigm, and did so quite effectively – at the outset. Lynch was in no great hurry to resolve the Laura Palmer case, sticking instead to his own general style: the seemingly straightforward narrative meandered through a landscape of imagery as strange and disturbing as it was visually striking. Perhaps inevitably, the series soon proved to be as daunting a challenge for network publicists as it was for viewers (apart from a small number of die-hard fans, of which I was one).

One could look at Twin Peaks as a continuous series of “whys,” and indeed, many have. Why the dancing midget, and why was his dialogue recorded backward and played back forward? Why didn’t Agent Cooper’s susceptibility to bizarre visions of midgets and giants disqualify him from becoming an FBI agent? Why does the log lady carry a log around, and is it always the same log or does she have, like, a collection of them? As much fun as these “whys” are, they are incidental to the overall purpose: the series as a whole represents one big Why.

The following paragraph contains a SPOILER. If you are planning to watch the Twin Peaks DVD set and don’t want to know who killed Laura Palmer, consider yourself alerted.

When the murder’s resolution confirms the presence of supernatural elements, the Sheriff comments, “I’ve lived in these old woods most of my life. I’ve seen some strange things, but this is way off the map. I’m having a hard time believing,” the mystical Agent Cooper responds, “Is it easier to believe a man could rape and murder his own daughter?” Satisfying though these lines were, they were also uncommonly pedantic for David Lynch. They were not at all uncommonly pedantic for prime time network television; in fact, I’d lay odds that pressure from ABC forced Lynch to plainly spell out something that his best work would only imply. Finding out WHO killed Laura Palmer is incidental to the essential mystery of why she was killed.

When puzzles like the ones in the MIT Mystery Hunt are solved, that’s it. Done. It’s solved. Completion feels good, which is why there are puzzle junkies, why the spongy psychological term closure has become popular, and why TV networks don’t like unresolved murders. I’m no different in this sense: I like having all the loose ends tied up as much as the next guy. Ultimately, puzzles and TV shows provide frameworks for delivering little completion fixes. We seek them out because out in the day-to-day world they just don’t happen too often. You will almost surely never know why you didn’t get into grad school ten years ago, or why the thieves picked your car. But when you solve the Sunday crossword, it helps. It reminds you that answers exist, and you do sometimes get them. However, when a TV show cops out and spoon-feeds you an answer it helps less, because the answers most often seem unsatisfying. Good dramatists of any medium know that questions are more compelling than answers, and that the only worthy answers are ones that lead straight to more questions.

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