Quotulatiousness

December 13, 2013

Desolating The Hobbit

Filed under: Media — Tags: , , — Nicholas @ 10:33

Ethan Gilsdorf reviews the second film in The Hobbit trilogy:

If you are resigned to the idea of Jackson and co-screenwriters Fran Walsh, Philippa Boyens and Guillermo del Toro cribbing from other source materials in the Tolkien legendarium to expand the world of The Hobbit, then Smaug might sit right with you. But if you insist on even moderate fealty to Tolkien’s book, then Smaug might feel overlong, bloated, and unfaithful.

[…]

Once again, Jackson’s art team has done a mesmerizing job visualizing the various stops on this Middle-earth tour. The Elvenking’s Hall, an intricately carved wood and rock dungeon, is magnificent. Mirkwood and its tangle of paths, tree-trunks, toadstools and spiderwebs feels like a mushroom trip gone bad. The Tombs of the High Fells and the crumbed fortress of Dol Guldur would be any D&Der’s wet dream. Set on piers and walkways over the water, Lake-town resembles a Renaissance-inspired Venice made of wood. The secret mountain stairway to the back door of Smaug’s lair, which the Company must ascend, proves to be a masterpiece of design. All are jaw-plummeting environments where I wanted to linger longer. In fact, I’d wished PJ had told his editor Jabez Olssen to let each shot linger a little longer, and asked cinematographer Andrew Lesnie to please hold his shots steady and in place — sans some swooping camera move — for more than five seconds.

[…]

Let me set my biases free. As a fan of Tolkien and a fan of Jackson’s first trilogy, it’s difficult to distance myself from my desire for movie that I’d hoped The Hobbit would deliver. This Hobbit Peter Jackson is less impressive than the Peter Jackson I came to know, respect and love in Lord of the Rings. This is an undisciplined director on display, showing no restraint. To me, The Hobbit: The Desolation of Smaug is too too loud, too fast, too much focused on action and distracting plot threads. I prefer the relative simplicity of Tolkien’s first Hobbit to the over-inflated, overblown, over-the-top epic Jackson aims his bow at here. Even if you accept the liberties Jackson and Company take with the script, to my mind, the movie as a movie experience, independent of the book, is not well served by all this extra material.

The question remains, how much of this can audiences withstand? How hard can Jackson pound on their armor before their defenses of patience give way? My suspicion is that chink in their dragon scales, if there is one, will be revealed when the final film in the trilogy, The Hobbit: There and Back Again, hits us with its Black Arrow next December.

December 7, 2013

Hitchcock’s MacGuffin in US politics

Filed under: Media, Politics, USA — Tags: , , , — Nicholas @ 13:16

At Ace of Spades HQ, Ace explains what the MacGuffin is and why American media outlets don’t care about it and think you shouldn’t care about it either:

In a movie or book, “The MacGuffin” is the thing the hero wants.

Usually the villain wants it too, and their conflict over who will end up with The MacGuffin forms the basic spine of the story.

In Raiders of the Lost Ark, the MacGuffin is, of course, the Lost Ark. Indy wants it; the Nazis have it. This basic conflict over simple possession animates a two hour long movie.

Alfred Hitchcock noted — counterintuitively, when you first hear this — that the specifics of the MacGuffin don’t really matter at all to a movie. He pointed out that the audience doesn’t care at all about the MacGuffin. The hero in the movie itself cares, but the audience doesn’t.

In one Hitchcock film, the MacGuffin was some smuggled uranium hidden in vintage wine bottles. But Hitchcock noted it didn’t matter if it was uranium in wine bottles, or a fragment of a diplomatic dispatch from the Nazi high command, or a hidden murder weapon, or photographs proving a Senator’s affair.

Okay, we’ve got the movie notion down … what’s the US political MacGuffin?

For Obama’s fanbois, this is not politics. This isn’t even America, not really, not anymore.

This is a movie. And Barack Obama is the Hero. And the Republicans are the Villains. And policy questions — and Obama’s myriad failures as an executive — are simply incidental. They are MacGuffins only, of no importance whatsoever, except to the extent they provide opportunities for Drama as the Hero fights in favor of them.

Watching Chris Matthews interview Obama, I was struck by just how uninterested in policy questions Matthews (and his panel) were, and how almost every question seemed to be, at heart, about Obama’s emotional response to difficulties — not about policy itself, but about Obama’s Hero’s Journey in navigating the plot of President Barack Obama: The Movie.

As with a MacGuffin in the movie, only the Hero’s emotional response to the MacGuffin matters.

Again and again, Matthews and his panel focused not on weighty questions of state, but on what toll these important-sounding MacGuffins took upon the Star of the Picture, Barack Obama.

Matthews was not terribly interested in hearing about the problems with Obamacare, or how Obama planned to address them.

But he was very interested in learning how Obama was coping with the challenges.

Matthews didn’t care all that much about disputes over the budget. But he was keenly interested in Obama’s thoughts on his opponents in such struggles.

Chris Matthews’ called Obama’s last answer the most important in the interview, and his entire panel agreed it was simply amazing.

[…]

Note what they’re not talking about: America. Policy. The economy. Obamacare. Actual live political controversies and possible programmatic responses to the difficulties we face (many of which Obama has caused himself, or made worse).

No, American politics is now merely a MacGuffin, an important-sounding but ultimately inconsequential and disposable plot device for holding interest in the Hero’s Journey.

Ultimately the only thing that matters is the Hero itself. It doesn’t matter why the Hero Barack Obama wants the Lost Ark of Sensible Gun Control, or the Shankara Stones of Comprehensive Immigration Reform, or the Democratic Holy Grail of Affordable Health Care. These are very minor details and only matter to the extent the Hero exerts himself to achieve them.

The viewers of this film don’t really care about these things, but only Obama’s frustration at being denied them, or his joy in attaining them.

November 24, 2013

QotD: Failure is always an option

Filed under: Quotations, Technology — Tags: , , — Nicholas @ 11:59

The idea that “failure is not an option” is a fantasy version of how non-engineers should motivate engineers. That sentiment was invented by a screenwriter, riffing on an after-the-fact observation about Apollo 13; no one said it at the time. (If you ever say it, wash your mouth out with soap. If anyone ever says it to you, run.) Even NASA’s vaunted moonshot, so often referred to as the best of government innovation, tested with dozens of unmanned missions first, several of which failed outright.

Failure is always an option. Engineers work as hard as they do because they understand the risk of failure. And for anything it might have meant in its screenplay version, here that sentiment means the opposite; the unnamed executives were saying “Addressing the possibility of failure is not an option.”

Clay Shirky, “Healthcare.gov and the Gulf Between Planning and Reality”, Shirky.com, 2013-11-19

November 10, 2013

Alison Bechdel on the revived popularity of the “Bechdel Test”

Filed under: Books, Media, Politics — Tags: , , , , , — Nicholas @ 00:01

You’d think, with all the social advances in equality for women over the last few decades that our media would more directly reflect that equality … but you’d be wrong. Quite some time ago, Alison Bechdel outlined a quick test you could use to determine whether a book or movie treated women as real people or just as foils for males:

The Bechdel test is used to identify gender bias in fiction. A work passes the test if it features at least two women who talk to each other about something other than a man. Commentators have noted that a great proportion of contemporary works fail to pass this threshold of representing women. The test was originally conceived for evaluating films, but has since been applied to other media.

Pretty low hurdle, yet a vast number of books and movies fail to meet even this minimal standard. Recently a Swedish theatre chain decided to use the Bechdel Test to evaluate the movies they were showing (with Bechdel’s blessing), which has revived interest in the test itself. Bechdel talks about this on her blog:

I said sure, that sounds awesome, go for it.

So they did, and the Guardian ran an article about it on Wednesday. Which prompted a flurry of emails from radio programs who wanted to talk to me. I spoke to Marco Werman at PRI’s The World, and got to join in his conversation with Ellen Tejle, the director of the participating cinema in Stockholm. I also did a background interview with the NPR program Here and Now.

Yesterday I got a lot of other requests from other media outlets but I’m ignoring them. I feel bad about this. There seems to be something fundamentally wrong about not seizing every possible chance for publicity — if not for myself, then at least for the brave Swedish cinema consortium, not to mention the cause of women everywhere.

But inevitably in these interviews I say simplistic things, or find myself defending absurd accusations — like that the formal application of the Test by a movie theater is somehow censorious.

I have always felt ambivalent about how the Test got attached to my name and went viral. (This ancient comic strip I did in 1985 received a second life on the internet when film students started talking about it in the 2000′s.) But in recent years I’ve been trying to embrace the phenomenon. After all, the Test is about something I have dedicated my career to: the representation of women who are subjects and not objects. And I’m glad mainstream culture is starting to catch up to where lesbian-feminism was 30 years ago. But I just can’t seem to rise to the occasion of talking about this fundamental principle over and over again, as if it’s somehow new, or open to debate. Fortunately, a younger generation of women is taking up the tiresome chore. Anita Sarkeesian, in her Feminist Frequencies videos, is a most eloquent spokesperson.

November 9, 2013

Virginia Postrel on the persistence of glamour

Filed under: Media — Tags: , , , , — Nicholas @ 11:36

At the Daily Beast, Virginia Postrel argues that far from being dead, glamour is still a powerful force in our lives:

In a world that prizes transparency, honesty, and full disclosure, the very idea seems out of place. Glamour is an illusion that conceals flaws and distractions. It requires mystery and distance, lest too much information breaks the spell. How can its magic possibly survive in a world of tweeting slobs?

But glamour does in fact endure. It is far more persistent, pervasive, and powerful than we realize. We just have trouble recognizing it, because it has so many different incarnations, many of which have nothing to do with Hollywood or fashion.

Glamour isn’t just a style of dress or a synonym for celebrity. Like humor, it’s a form of communication that triggers a distinctive emotional response: a sensation of projection and longing. What we find glamorous, like what we find funny, depends on who we are.

One person who yearns to feel special finds glamour in the image of U.S. Marines as “the few, the proud,” while another dreams of getting into the city’s hottest club and yet another imagines matriculating at Harvard. For some people, a glamorous vacation means visiting a cosmopolitan capital with lots to do and see. For others, it means a tranquil beach or mountain cabin. The first group yearns for excitement, the second for rest. All of these things are glamorous — but to different people.

November 7, 2013

Astounding historical ignorance … or is he just trolling?

Filed under: History, Media, USA — Tags: , , — Nicholas @ 10:32

You’d have to go a long way to match the degree of ignorance that the Washington Post‘s Richard Cohen admits to in this article:

I sometimes think I have spent years unlearning what I learned earlier in my life. For instance, it was not George A. Custer who was attacked at the Little Bighorn. It was Custer — in a bad career move — who attacked the Indians. Much more important, slavery was not a benign institution in which mostly benevolent whites owned innocent and grateful blacks. Slavery was a lifetime’s condemnation to an often violent hell in which people were deprived of life, liberty and, too often, their own children. Happiness could not be pursued after that.

Steve McQueen’s stunning movie 12 Years a Slave is one of those unlearning experiences. I had to wonder why I could not recall another time when I was so shockingly confronted by the sheer barbarity of American slavery. Instead, beginning with school, I got a gauzy version. I learned that slavery was wrong, yes, that it was evil, no doubt, but really, that many blacks were sort of content. Slave owners were mostly nice people — fellow Americans, after all — and the sadistic Simon Legree was the concoction of that demented propagandist, Harriet Beecher Stowe. Her Uncle Tom’s Cabin was a lie and she never — and this I remember clearly being told — had ventured south to see slavery for herself. I felt some relief at that because it meant that Tom had not been flogged to death.

No modern American — working in the media — could possibly be so ignorant, so he must be trolling. H/T to Julian Sanchez for the link.

October 19, 2013

In which Jonah Goldberg compares the Tea Party to Nazis

Filed under: Humour, Media, Politics — Tags: , , , — Nicholas @ 11:02

This week’s Goldberg File email included a brief analysis of Raiders of the Lost Ark and tied it to the last couple of weeks of Washington political theatre:

If the Tea Party isn’t pissing someone off, it’s doing it wrong.

Like the skinny guy everyone in prison is afraid of, much of the Tea Party’s political power is drawn from the perception that it’s just a little crazy. Boehner’s hand has been strengthened over the last few years by his ability to tell Obama, “Hey, look, I’d love to cut a deal with you but you see those guys over my right shoulder? — DON’T LOOK THEM IN THE EYE! They are crazy and if I walk back there with what you’re offering they will rip off my legs and beat me to death with them. And then they will get mean.”

So why did I get crosswise with them this time? Because I didn’t think their strategy would work. But going over all that again feels like airing dirty laundry during Thanksgiving dinner just so you can get grandma riled up about grandpa’s escapades during the war. “You weren’t fighting Communists! You were fighting syphilis! We’re going home!”

Still, like most of my colleagues, I didn’t think the strategy would work. And that was a risk for the Tea Parties themselves. Sometimes to use power means to lose power. Good hostage-takers are always careful to ask for a ransom the victim’s families can afford to pay, otherwise what’s the point?

Indiana Jones and the Tea Party of the Lost Ark

In a recent episode of The Big Bang Theory, Sheldon introduces his girlfriend, Amy, to the Raiders of the Lost Ark, which she’d never seen before. She liked the movie, she explains, despite the big “story problem.” Sheldon is aghast at the suggestion there could be any story problems with the “love child” of Steven Spielberg and George Lucas. “What story problem?” he demands to know. She explains that Indiana Jones is absolutely irrelevant to the story. If he’d never gotten involved, the Nazis would have still found the ark of the covenant, they would have still brought it to that island, and they would have still had their faces melted.

I’d never thought of it that way before, but it’s actually a very close parallel complaint to the one I’ve written about many times. My dad — who loved the movie — always laughed at the idea that the Nazis would be able to use the ark for their dastardly purposes. The idea that God would be like, “Darn, it’s out of my hands. I guess I have no choice but to lend you my awesome powers for your evil deeds,” is pretty ridiculous. They even returned to this idea in the third movie, when the Nazis tried to get their hands on the Holy Grail — because, you know, Jesus would totally say, “Nazis!? Rats. There’s nothing I can do. It’s life everlasting for the SS!”

I’m no theologian, but I just have a hard time believing that’s how God rolls.

Anyway, I bring this up because I think you can say something similar about the last few weeks. There was a whole lot of action, but at the end of the day, things worked out the way they were going to all along. I’m sure there’s a really good extended metaphor in here somewhere. Default was the face-melting ark, but we looked away at the last minute. Or defunding Obamacare was the Holy Grail, or something like that. But I want to get back to why I feel pretty good about how things worked out.

October 1, 2013

Coming features – The Hobbit: The Desolation of Smaug

Filed under: Media — Tags: , , — Nicholas @ 17:18

The Hobbit:The Desolation of Smaug opens nationwide across the UK on 13th December 2013

The second in a trilogy of films adapting the enduringly popular masterpiece The Hobbit, by J.R.R. Tolkien, The Hobbit: The Desolation of Smaug continues the adventures of the title character Bilbo Baggins (Martin Freeman) as he journeys with the Wizard Gandalf (Ian McKellen) and thirteen Dwarves, led by Thorin Oakenshield (Richard Armitage) on an epic quest to reclaim the lost Dwarf Kingdom of Erebor.

The Hobbit: The Desolation of Smaug is a production of New Line Cinema and MGM, with New Line managing production. Warner Bros Pictures is handling worldwide theatrical distribution, with select international territories as well as all international television distribution being handled by MGM.

September 19, 2013

Latest online piracy study shows the problem is Hollywood

Filed under: Business, Media — Tags: , , , — Nicholas @ 08:37

Techdirt‘s Mike Masnick shows that the data in the most recent study of online piracy (funded by NBC Universal) clearly shows that the real reason for piracy is Hollywood’s unwillingness or inability to learn:

While we already discussed the MPAA’s questionable new study trying to pin the blame for infringement on Google, MPAA member NBC Universal has released its “Digital Piracy Universe” study as well. This study was done by NetNames, the company formerly known as Envisional, which basically released a very similar study two and a half years ago. Matt Schruers, over at CCIA, does a nice job explaining some of the more questionable aspects of the methodology. However, we’d like to focus on something a bit more basic: the study’s own numbers don’t seem to support what NBC Universal seems to think it does. More specifically, as we noted with the last study, the results actually suggest piracy is Hollywood’s own damn fault. This isn’t just our interpretation either. The guy who wrote both studies, David Price, basically said the same thing right before SOPA died (he argued that the bills were a bad idea).

Once again, it’s not difficult to see why the problem is Hollywood’s with one simple chart:

Online piracy and Netflix

Basically, in the US, where Netflix has come up with a model that many people find to be reasonably priced and convenient enough, the rate of things like BitTorrent usage falls in comparison.

September 10, 2013

Julian Assange thinks Cumberbatch sounds nothing like him

Filed under: Australia, Media — Tags: , , — Nicholas @ 09:45

Wired‘s Angela Watercutter on the amusing report that Julian Assange seems to be the only person who thinks Benedict Cumberbatch’s accent is wrong:

Going into the making of The Fifth Estate, Benedict Cumberbatch had a tough task ahead: Resembling Julian Assange – a complex figure with a well-known public persona. And while Cumberbatch’s final performance in the film does the WikiLeaks founder justice, there’s one person who took issue with his accent: Assange himself.

In a video interview with Marc Fennell that was posted just a few days before the film premiered at the Toronto International Film Festival, the WikiLeaks founder said that the Australian accent Cumberbatch – a Brit – uses in the film was “grating.” Only, in the video he sounds eerily similar to the man whose performance he’s saying sounds nothing like him – an irony not lost on Fifth Estate director Bill Condon.

“It is crazy, isn’t it? I heard it before I saw it, and they sounded identical, and I thought that was really funny,” Condon said in an interview with WIRED. “Who actually can hear their own voice, I guess, right? That proves that. Benedict hasn’t seen it yet, but we just talked about it over lunch and he’s dying to.”

In the video (above) Assange, who once called Condon’s film the “anti-WikiLeaks” movie, also calls out the director for instructing Cumberbatch to portray him as a “sociopathic megalomaniac.” (Assange doesn’t cite his source, but he may be referencing comments Cumberbatch recently made in Vogue, stating that when it came to the stage direction in an early version of the script, the actor and director “collided paths because Bill did seem to be setting him up as this antisocial megalomaniac.”) But Condon said that characterization doesn’t come through in the film.

August 22, 2013

Sixties TV – it was different if you were under 12

Filed under: Britain, Media — Tags: , , , , , — Nicholas @ 14:14

James Lileks looks at a few Gerry Anderson productions:

The Sixties - different under 12

Gerry Anderson! You’re going to get everything you need for crackerjack adolescent-satisfying sci-fi: spaceships, shuttlecrafts, computers, control rooms, crisp commanding officers, futuristic gadgets, and a big score. And none of it will work half as well as you hoped. The spaceships will look great, though. The computers will blink and there will be switches, but nothing makes Star Trek Sounds. The control rooms are clean but everyone is talking in a British accent for some reason, like they have their own NASA that’s just as big. The gadgets are okay. The score has a trademark echoey quality you found in soundtracks, particularly British ones, from the late 60s to the early 70s. It should be good! Why isn’t it great?

I’ve pondered that mystery for a long time. Sometimes you have a revelation — hey, the founding concept of “Space: 1999 was really stupid” — or you carp about the details, wondering why the UFO interceptors went hunting with one (1) missile that required a direct hit to be effective, instead of just blowing the hell out of the area. Then you realize it’s not great because it’s all the work of someone who made horribly grinning square-headed puppets, that’s why, and never stopping thinking he was making entertainment for 8 years olds.

[…]

The title theme is here, complete with oddly romantic piano interlude. It’s every Barry Grey piece that ever left me cold, right there. In general I just don’t feel Barry Grey’s music — except for the opening of the “Space 1999” theme before it goes full whacka-chicka, and of course that other theme. Here’s a guy who wrote miles and miles of scores for things like “Supercar,” for heaven’s sake, and he turns around and knocks off the tightest, sharpest theme of the 70s.

Still, Laurie Johnson was better.

July 17, 2013

Trailer for The Fifth Estate

Filed under: Liberty, Media, Politics — Tags: , — Nicholas @ 08:36

A dramatic thriller based on real events, THE FIFTH ESTATE reveals the quest to expose the deceptions and corruptions of power that turned an Internet upstart into the 21st century’s most fiercely debated organization.

Triggering our age of high-stakes secrecy, explosive news leaks and the trafficking of classified information, WikiLeaks forever changed the game. Now, in a dramatic thriller based on real events, THE FIFTH ESTATE reveals the quest to expose the deceptions and corruptions of power that turned an Internet upstart into the 21st century’s most fiercely debated organization. The story begins as WikiLeaks founder Julian Assange (Benedict Cumberbatch) and his colleague Daniel Domscheit-Berg (Daniel Brühl) team up to become underground watchdogs of the privileged and powerful. On a shoestring, they create a platform that allows whistleblowers to anonymously leak covert data, shining a light on the dark recesses of government secrets and corporate crimes. Soon, they are breaking more hard news than the world’s most legendary media organizations combined. But when Assange and Berg gain access to the biggest trove of confidential intelligence documents in U.S. history, they battle each other and a defining question of our time: what are the costs of keeping secrets in a free society — and what are the costs of exposing them?”

June 20, 2013

Colby Cosh on re-visiting the TWA 800 crash investigation

Filed under: Government, Media, USA — Tags: , , , , , — Nicholas @ 08:39

I remember there were lots of “shoot-down” speculations about the loss of TWA flight 800 off the coast of Long Island in 1996, and that the formal investigation seemed unusually inconclusive, but I didn’t know that the National Transportation Safety Board was considering re-opening the investigation after all this time:

Many witnesses insisted they had seen a streak of light ascend toward the plane before it exploded, creating an initial suspicion that TWA 800 had been brought down by a missile. That is the theory favoured by the “Independent Researchers.” Although they are very careful about referring to “an external explosion” as their pet alternative to the official story — which is that an electrical short circuit blew up a fuel tank — it is clear enough that they are thinking “missile”. And it is clear enough that they suspect the investigation was obfuscated at the behest of powerful forces in the government, either because terrorists had succeeded in embarrassing its intelligence-gathering or because the explosion was actually the result of a military accident. Much is made of the radar signature of a mysterious craft that appeared on the surface of the water briefly at around the time of the disaster.

It makes for a wonderful case study in the way conspiracy theories arise. The FBI was permitted to horn in on the NTSB investigation precisely because, and only because, there were so many witnesses offering contradictory accounts of the explosion. That, in turn, allows the Independent Researchers to hang upon the FBI every error, imperfection, and bit of official superciliousness perpetrated in the course of the investigation. The bureaucracy’s sincere desire to rule out a crime if no crime took place becomes, in the eyes of skeptics, circumstantial evidence of a crime concealed.

[. . .]

The NTSB’s respectful response to the Independent Researcher petition raises the question of whether there might exist a “Snowden Effect” resulting from the revelations recently made by a certain four-eyed former tech contractor for the National Security Agency. The TWA 800 conspiracists/countertheorists have been hard at work almost since the evening of the accident/incident. They have a filmed documentary in the works — which is, incidentally, a sizable point against them in my personal ledger: I observe an increasingly unshakeable rule of thumb that all documentaries are, if not lies, then practically indistinguishable from lies. (If you wish to disagree, I ask only that you send me a five-minute video clip of you doing or saying absolutely anything, and allow me to apply the composition, colour and film-grain effects, editing, and music of my choice.) Obviously they are not taking advantage, per se, of the climate of hostility and paranoia created by Edward Snowden’s account of the American security state. They were already hostile and paranoid.

But Snowden’s globally televised dissident activity may serve to create a more receptive audience for conspiracy theories about the U.S.A. It might, on the other hand, make American government agencies more aware of their public image and more eager to at least appear somewhat libertarian and sensible, a bit less like servants of bloodthirsty alien lizard-beings. And, then again, there’s a third possibility: Snowden’s audacity might shame other officials trying to retire with secrets in their bosom into stepping forward sooner. I think I have, unfortunately, listed these conceivable Snowden Effects in the order of their real likelihood.

June 2, 2013

QotD: Reign of the Gay Magical Elves

Filed under: Media, Quotations — Tags: , , , — Nicholas @ 00:01

Was I the only gay man of a certain demo who experienced a flicker of annoyance in the way the media treated Jason Collins as some kind of baby panda who needed to be honored and praised and consoled and — yes — infantilized by his coming out on the cover of Sports Illustrated? Within the tyrannical homophobia of the sports world, that any man would come out as gay (let alone a black man) is not only an LGBT triumph but also a triumph for pranksters everywhere who thrilled to the idea that what should be considered just another neutral fact that is nobody’s business was instead a shock heard around the world, one that added another jolt of transparency to an increasingly transparent planet. It was an undeniable moment and also extremely cool. Jason Collins is the future. But the subsequent fawning over Collins simply stating he is gay still seemed to me, as another gay man, like a new kind of victimization. (George Stephanopoulos interviewed him so tenderly, it was as if he was talking to a six-year-old boy.) In another five years hopefully this won’t matter, but for now we’re trapped in the times we live in. The reign of The Gay Man as Magical Elf, who whenever he comes out appears before us as some kind of saintly E.T. whose sole purpose is to be put in the position of reminding us only about Tolerance and Our Own Prejudices and To Feel Good About Ourselves and to be a symbol instead of just being a gay dude, is — lamentably — still in media play.

The Gay Man as Magical Elf has been such a tricky part of gay self-patronization in the media that you would by now expect the chill members of the LGBT community to respond with cool indifference. The Sweet and Sexually Unthreatening and Super-Successful Gay is supposed to be destined to transform The Hets into noble gay-loving protectors — as long as the gay in question isn’t messy or sexual or difficult. The straight and gay sanctimoniousness that says everyone gay needs to be canonized when coming out still makes some of us who are already out feel like we’re on the sidelines. I’m all for coming out on one’s own terms, but heralding it as the most important news story of the week feels to me, as a gay man, well, kind of alienating. We are apart because of what we supposedly represent because of … our … boring … sexuality — oh man, do we have to go through this again? And it’s all about the upbeat press release, the kind of smiling mask assuring us everything is awesome. God help the gay man who comes out and doesn’t want to represent, who doesn’t want to teach, who doesn’t feel like part of the homogenized gay culture and rejects it. Where’s the gay dude who makes crude jokes about other gays in the media (as straight dudes do of each other constantly) or express their hopelessness in seeing Modern Family being rewarded for its depiction of gays, a show where a heterosexual plays the most simpering ka-ween on TV and Wins. Emmys. For. It? Why isn’t the gay dude I have always known and the gay dude I have always wanted to be not front and center in the media culture now? But being “real” and “human” (i.e. flawed) is not necessarily what The Gay Gatekeepers want straight culture to see.

Bret Easton Ellis, “In the Reign of the Gay Magical Elves”, Out Magazine, 2013-05-13

June 1, 2013

You can never have too much Firefly

Filed under: Humour, Liberty, Media — Tags: , , , — Nicholas @ 00:01

« Newer Posts — Older Posts »

Powered by WordPress