Hi there and welcome to October! This is our favorite time of the year here at the Shattered Lens because October is our annual horrorthon! For the past several years (seriously, we’ve been doing this for a while), we have celebrated every October by reviewing and showing some of our favorite horror movies, shows, books, and music. That’s a tradition that I’m looking forward to helping to continue this year.
To start things off, we have the 1973 made-for-TV movie, The Horror at 37,000 Feet. This film starts off like a typical disaster film, with a collection of familiar celebrities catching a flight from Heathrow Airport. What they don’t know is that celebrity is not the only thing flying across the ocean! There’s a sacrificial altar sitting in the baggage hold and soon, all sorts of strange things are happening! Truly, it’s a horror at 37,000 feet!
This film is silly and perhaps even a little bit dumb but it’s also definitely a lot of fun. To be honest, when you’ve got William Shatner playing an ex-priest who is wondering what happened to his faith, how can you go wrong? Along with Shatner, keep an eye out for Chuck Conners, Buddy Ebsen, Roy Thinnes, Paul Winfield, Tammy Grimes, and France Nuyen. Basically, every TV actor who needed a job in 1973 boarded The Horror at 37,000 Feet.
Happy October and enjoy The Horror at 37,000 Feet!
Yay! It’s finally October again! Are you excited because I know I am? Seriously, it feels like it’s been a year since I last got to celebrate my favorite month!
Here are ten things that I’m looking forward to in October.
Halloween and Horrothon! — You all had to know that this was going to be number one, right? Halloween is my favorite time of year, both because of the cool weather and the fact that it’s the start of the holiday season! Plus, this time of year that we do our annual Horrorthon here at TSL! (I will also be contributing daily horror reviews to Horror Critic!) I spend all year looking forward to and preparing for this month. Horrorthon can be an exhausting enterprise but it’s always worth it.
Terrifier 2 — Art, the world’s most terrifying clown is back! Seriously, killer clowns are a bit of a cliché but Art is one of the most frightening horror creations that I’ve ever seen. Terrifier 2 is going to be 138 minutes long and, with the legacy of Michael Myers being ruined by the current David Gordon Green Halloween trilogy (seriously, don’t even get me started), now is the time for Art to step up and remind people what horror is all about.
TAR— Todd Field’s first film since Little Children looks intriguing and has been getting rapturous reviews. TAR is getting a limited release on October 3rd before opening wide on October 28th. It may not be a horror film but I’m still looking forward to seeing the film that could very well make Cate Blanchett a three-time Oscar winner.
Triangle of Sadness — For that matter, I’m also looking forward to Triangle of Sadness, this year’s winner of Palme d’Or. The film opens on October 7th and it appears to feature Woody Harrelson in the role that he was born to play.
The Banshees of Inisherin — An Irish film, reuniting Martin McDonagh, Colin Farrell, and Brendan Gleeson? (Previously, all three worked together on the brilliant In Bruges.) How could I possible resist?
Dark Glasses — Dario Argento’s latest film is coming to Shudder!
Night of the Living Dead, The Shining, the original Suspiria, Carnival of Souls, Robot Monster, Little Shop of Horrors, Nosferatu, The Cabinet of Dr. Caligari, Bride of the Monster, Plan 9 From Outer Space,the original Halloween — It’s tradition! These are films that I watch at least once every October and I’m looking forward to watching them this year as well.
Mocking the critics — There are so many snobs out there when it comes to horror. That’s why it’s always fun to spend October mocking them on twitter. Forget those who look down on horror. October is our time.
All The Holiday Specials — Toy Story of Terror? Yep. It’s The Great Pumpkin, Charlie Brown? You know my sister and I will be watching it. It’s not October without the holiday specials.
Setting A Record — Last year, at TSL, we posted 487 times over the course of October. Think we can break 500 this year? We’re off to a good start!
Happy October everyone! I look forward to sharing this wonderful time of year with all of you! What are you looking forward to?
By May, I think most people had forgotten about it.
I point this out not to be snarky about CODA (which, for the most part, I found to be a well-made and sweet-natured movie) but to just point out that occasionally, the Oscar for Best Picture Of The Year does not go to the nominee that’s necessarily going to be remembered and watched by future generations. CODA’s victory is not a travesty, regardless of what some members of Film Twitter insisted. This isn’t like when Green Book won. It’s just that CODA seems to be destined to be remembered in much the same way that we remember Argo and Spotlight, i.e. a well-made and well-acted film that gets the job done but don’t necessarily stick around in your mind for long after you watch it.
In fact, looking back at all of the 2021 Best Picture nominees, the one that has really stuck with me is Guillermo del Toro’s Nightmare Alley.
Nightmare Alley tells the story of Stan Carlisle (Bradley Cooper), a drifter who, in 1939, gets a job with a carnival. Stan is running from his past. He’s haunted by visions and dreams of a dying old man and a burning farm house. When we first meet him, he avoids alcohol which is perhaps a good thing as getting drunk at the carnival just makes someone easier to exploit and, ultimately, the carnival is all about exploitation. The carnival’s owner, Clem (Willem DaFoe), specializes in tricking alcoholics into becoming opium-addicted “geeks,” who bite the heads off of chickens for gawking country audiences.
It’s not a glamorous life but it’s one that allows Stan to hide from his past. He comes under the tutelage of Madame Zeena (Toni Collette) and her husband, Pete (David Straithairn). They teach him how to give “cold readings,” and Stan proves to be an eager student. Pete tells Stan to never pretend to be able to speak to the dead and, from the minute that Pete says it, we can tell that Stan is already thinking about how much money he could make by doing just that. Stan also appears to fall in love with Molly (Rooney Mara), a performer whose act involves a fake electric chair. When Stan eventually abandons the carnival, Molly goes with him. When Stan finds success as a fake medium, Molly is his assistant.
Stan becomes quite a success in Buffalo, trading in his shabby clothes and his unshaven appearance for a tuxedo and suave mustache. With success comes arrogance and Stan soon ignore what Pete told him about pretending to be able to speak to the dead. When Stan meets a psychologist named Dr. Lillian Rith (Cate Blanchett), he gets involved in a plot to con a judge who is still mourning for his deceased son. It also leads to Stan meeting a corrupt and murderous businessman (Richard Jenkins). Ignoring Pete’s lesson sets off a chain of events that leads Stan right back to where he started.
There’s something wonderfully subversive about taking Bradley Cooper, a legitimate movie star who is probably one of the most personable and likable actors working today, and casting him as such a sleazy character. This isn’t a case, as in American Hustle or even The Hangover movies, where Cooper is playing a goof who gets in over his head. Instead, Stan is someone who uses his eager manner and his natural charm to cover up the fact that he’s hollow on the inside. Watching the film, you’re never quite sure as to whether or not Stan truly cares about any of the people who come into his life. Does he love Molly or is he just using her? Does he care about his friends from the carnival or is he just manipulating them into acting as a shield to keep out his former life? When he goes against Pete’s lessons about pretending to speak to the dead, is he motivated by greed or arrogance? Or does he truly want to believe that he’s somehow become the all-powerful psychic that he pretends to be? Stan becomes a success because he knows how to con everyone but eventually, he meets someone who is even emptier than he is. Ultimately, Stan cons himself. He tricks himself into believing that he’s more clever than he actually is and he ends up facing the fate that he secretly always knew was waiting for him. Cooper gives an outstanding performance as Stan. Both he and del Toro cleverly play with what audiences expect when they see Bradley Cooper onscreen. In the end, the film suggests that not even charm can ward off karma.
Nightmare Alley is work of what Lucio Fulci called “pure cinema,” one in which the imagery and the emotions generated by that imagery is even more important than the story itself. The sets, whether it’s the carnival or Dr. Ritter’s office or the Buffalo ballroom where Stan cons the wealthy, are large and ornate. The cinematography is gorgeous. The supporting performances are arch and witty. Cate Blanchett’s and Rooney Mara’s costumes are to die for. Nearly every shot feels as if it could have been lifted from a particularly vivid dream. Guillermo del Toro’s love of cinema is evident in every frame of Nightmare Alley. It’s a film that celebrates the grandeur and the power of imagination and also warns about the destructive power of hubris. Despite the fact that del Toro has gone on the record saying that there’s nothing supernatural about Nightmare Alley, it’s still a wonderful film for the Halloween season. The costumes are beautiful and the final third of the movie plays like an homage to the classic German expressionistic horror films, with Blanchett playing her role as a mix of Dr. Caligari and a classic noir feeme fatale. Nightmare Alley is a big, flamboyant, and unforgettable work of pure cinema and, looking back, it’s my favorite film of 2021.
Horrorthon, my favorite time of year, starts tomorrow! However, before we get lost in the scary season, I want to take one last look at awards season! It’s time for me to update my Oscar nominations. Fortunately, thanks to all of the recent festival premieres, the Oscar picture is finally starting to look a little bit clearer. There’s still a lot of question marks out there and, as always, anything can happen. But, finally, I can say that there’s more to my predictions that just lucky guesses and wishful thinking.
Below, you’ll find my predictions for September! In order to see how my thinking has evolved over the course of the year, be sure to check out my predictions for February, March, April, May, June, July, and August.
Best Picture
Babylon
The Banshees of Inisherin
Elvis
Everything Everywhere All At Once
The Fabelmans
The Menu
TAR
Till
Top Gun: Maverick
Women Talking
A few thoughts on the (potential) nominees:
Babylon, I will admit, I’m including because of the trailer and the fact that it’s a Damien Chazelle film about Hollywood. The Academy likes films about itself and one can argue that after what happened when La La Land was nominated, Chazelle is owed at least a little bit of recognition. Then again, that same argument could have been made for First Man and we know how that turned out.
As for The Menu, I’ve got that in my surprise nominee slot. There’s almost always at least one potential nominee that’s considered to be a long shot until the nominations are announced. Now that we have a set number of ten nominees, the chances that one nominee will be a surprise seems even more certain than before.
Top Gun: Maverick, Elvis, and Everything Everywhere All At Once all came out early in the year but they’ve all achieved the box office success necessary to be remembered.
Till seems like the type of film that the Academy will want to acknowledge, especially with the presidential election right around the corner.
The Banshees of Inisherin, The Fabelmans, TAR, and Women Talking were all acclaimed when they made their festival debuts. Banshees, in particular, went from being a probable also-ran to a surefire contender based on the length of the standing ovation that it received.
Best Director
Chinonye Chukwu for Till
Todd Field for TAR
Martin McDonagh for The Banshees of Insherin
Sarah Polley for Women Talking
Steven Spielberg for The Fabelmans
Best Actor
Austin Butler in Elvis
Tom Cruise in Top Gun: Maverick
Colin Farrell in The Banshees of Insherin
Ralph Fiennes in The Menu
Brendan Fraser in The Whale
Best Actress
Naomi Ackie in I Wanna Dance With Somebody
Cate Blanchett in TAR
Olivia Colman in Empire of Light
Danielle Deadwyler in Till
Michelle Yeoh in Everything Everywhere All At Once
Best Supporting Actor
Brendan Gleeson in The Banshees of Insherin
Tom Hanks in Elvis
Woody Harrelson in Triangle of Sadness
Judd Hirsch in The Fabelmans
Ke Huy Quan in Everything Everywhere All At Once
Best Supporting Actress
Jessie Buckley in Women Talking
Jamie Lee Curtis in Everything Everywhere All At Once
Sally Field in Spoiler Alert
Frances McDormand in Women Talking
Janelle Monae in Glass Onion: A Knives Out Mystery
Welcome to Retro Television Reviews, a new feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing One World, which ran on NBC from 1998 to 2001. The entire show is currently streaming on Tubi!
The Cast of One World
This week, Ben discovers he has a brother and Sui and Jane discover that they have no choice but to live together, regardless of how little they have in common. It’s all a part of living in …. one world!
Episode 1.9 “Two Flew Over The Cuckoo’s Nest”
(Directed by Chuck Vinson, originally aired on November 14th, 1998)
“You’re not a better parent than our Dad,” Neal says at one point in this episode, “When we kids aren’t in jail, we’re pretty great.”
And he’s got a point. The Blake children are a good group of people but they certainly do seem to spend a lot of time in jail.
When they’re not in jail, they’re getting visited by social workers who are trying to figure out why they’re still free. In this episode, a social worker suggests that Jane and Sui see a therapist to determine why they’re incapable of getting along. Jane thinks that Sui is spoiled. Sui thinks that Jane is unstable and destructive. It turns out that they’re both right! But it also turns out that, underneath their hostility, they secretly care about each other and neither wants to see the other kicked out of the house.
Meanwhile, Mr. Blake is challenged to a bowling game by another coach and Ben tries to convince Marci to include him in a calendar of sexy Miamians. It’s all a bit disjointed, to be honest. This is another one of those episodes that seems to have been randomly pieced together with footage that was found on the editing room floor. Still, I’ll give the episode some credit for its title.
Episode 1.10 “Ben’s Brother”
(Directed by Chuck Vinson, originally aired on November 21st, 1998)
“I just can’t believe I’ve got an identical twin brother!” Ben declares, shortly after meeting Bryan (Denny Kirkwood).
It’s true. Even though Ben didn’t know it, he had a twin brother who was adopted by another family. When Bryan learned of Ben’s existence, he came out to Miami to find him. When they happen to run into each at The Warehouse (a.k.a., Miami’s Hottest Under-21 Club), they’re both overjoyed. Bryan is even happier when he meets Jane. It turns out that Bryan likes bad girls and, as was casually mentioned a few episodes ago, Jane is kind of in love with Ben. Since Ben is dating Alex, why not just go out with someone who shares his face and his DNA? Besides, the audience keeps going, “Woooo!” whenever Bryan and Jane talk to each other.
Unfortunately, it turns out that Bryan has a gambling addiction. Bizarrely enough, City Guys also did a show about being addicted to gambling and I’m pretty sure that Hang Time eventually did an episode about gambling as well. Was teenage gambling a huge problem in the 90s? Because of the fact that they both look exactly alike, Ben discovers that Bryan is in trouble with some dangerous people but Jane refuses to break up with him because she’s a rebel. Go, Jane, go!
In the show’s B-plot, Neal and Sui went on a game show. Sui got mad at Neal for insisting on answering all of the questions himself. Unfortunately, for the final question, Neal gets asked the name of the “pop singer who wore a cone bra on her Blonde Ambition tour.” Somehow, Neal doesn’t know that it was Madonna. Sui tries to answer the question but spends too much time talking and doesn’t beat the buzzer. Oh well. At least Sui gets to wear a really cute pair of boots on the game show.
So, in short, Jane is now dating a gambling addict, Ben is dating an alcoholic, and Marci and Sui are the best characters on the show. What will happen next week?
The 1966 novel, Night of Camp David, deals with the presidency of Mark Hollenbach.
Mark Hollenbach is an old school Democrat, the type of old-fashioned liberal who would probably not have much of a place in today’s party. Hollenbach is known for his competent and loyal staff and his demand that everyone around him be just as morally upright as he feels that he is. Therefore, when Hollenbach’s Vice President gets caught up in a minor scandal, everyone knows that Hollenbach is going to eventually pick a different running mate when it comes time to run for reelection.
But who will Hollenbach pick? The Speaker of the House is viewed as being too much of an old-style political boss. The Secretary of State might be the smartest man in Washington, D.C. but Hollenbach is convinced that the voters are not ready for a Jewish vice president. After a night of lukewarm jokes at the Gridiron Dinner, Hollenbach invites Sen. Jim MacVeagh of Iowa to come talk to him at Camp David. During their conversation, Hollenbach reveals that he’s planning on naming MacVeagh to the ticket.
This takes MacVeagh by surprise because even he realizes that he’s not really qualified to be president. He’s too young and, as more than one character points out over the course of the book, he has a reputation for being rather lazy. An even bigger problem is that the married MacVeagh has a mistress named Rita and there’s no way that Hollenbach would accept an adulterer on his ticket….
(Okay, I heard that. Stop laughing. This book was published in 1965. Obviously, it was a more naïve time.)
Of course, there’s an even bigger problem than Jim MacVeagh not living up to the president’s moral standards. It also appears that Mark Hollenbach is losing his mind. MacVeagh soon discovers that Hollenbach has decided that Europe can no longer be trusted and that it’s time for America to make peace with Russia! As well, Hollenbach feels that the media is trying to sabotage his presidency and, as such, it’s time to maybe rethink that whole freedom of speech thing. MacVeagh realizes that the pressures of the office have gotten to Hollenbach and that he’s becoming dangerously paranoid. But only MacVeagh knows it and how can he reveal the truth without destroying his career and his marriage?
Today, of course, the idea of the President being a paranoid buffoon is not that shocking. For that matter, a lot of Hollenbach’s delusions are today pretty much a part of the standard political discourse. One gets the feeling that there’s quite a few people who would happily embrace Hollenbach’s desire to destroy the First Amendment. (“YoU cAn’T yElL fIrE iN a ThEaTeR!” someone is tweeting at this very moment.) But again, this book was published in 1965. Joe Biden wasn’t even in the Senate when this book was published, that’s how old it is. In many ways, Night of Camp David feels prophetic. Today, of course, it’s interesting to read a book like this and marvel at the idea that people were once shocked by the idea of a paranoid president.
Though it gets off to a slow start, Night of Camp David picks up steam once MacVeagh discovers that Hollenbach is using the FBI to investigate anyone who he perceives as being either a potential ally or a potential threat. (Hmmmm, imagine that….) Fletcher Knebel was the co-author of Seven Days In May and he obviously knew how to put together a political thriller. Jim MacVeagh and Rita are both interesting characters, especially Rita. She can do better than Jim MacVeagh and she knows it. The book ends on what seems like a note of wishful thinking but, again, it was 1965.
Paul Greengrass has apparently been developing a film adaptation of this book. I don’t know if that project is still happening, though Greengrass seems like he would be able to do the story justice. Personally, I would suggest Tom Hanks as Hollenbach and Austin Butler as MacVeagh. I mean, if it worked for Elvis….
I don’t even smoke and I still think anti-smoking commercials are annoying.
Take this one from 1999, in which some weirdo harasses students as they try to leave their high school. He gets an interview from one student, who seems to be annoyed with the whole thing and …. OH MY GOD, THAT’S ROB MCELHENNEY FROM IT’S ALWAYS SUNNY IN PHILADELPHIA!
I don’t care what all the other critics said when Father Stu was first released in April. It’s not that bad.
Now, of course, I should be upfront and mention that I come from a Catholic background. My father’s side of the family is Irish. My mother’s side is Italian/Spanish. Am I saying that you have to have been raised Catholic to appreciate Father Stu? Not at all. But it does help.
And when I say that Father Stu is not that bad, what I mean is that’s actually pretty good.
Based on a true story, Father Stu stars Mark Wahlberg as Stuart Long. When the movie opens, Stu is in a boxing ring, beating up his opponents while taking a lot of punishment himself. From that opening scene, we learn a few things about Stu. He’s a fighter. He’s determined. He’s willing to take a beating. And he really doesn’t know when to quit. We then meet his no-nonsense mother, Kathleen (Jacki Weaver), and his father, Bill (Mel Gibson). Bill is an alcoholic truck driver, the type who shouts at other drivers and who gets into an argument with a random child about who is the worse driver.
When Stu is informed that he could very well die if he continues to box, he decides that it’s time to pursue another profession. The 30-something Stu announces to his mother that he’s going to be an actor. He may not have any training but he has a lot of personality. Stu’s mother suggests that it might be a little late in life for Stu to pursue a career as a film star but Stu packs up and leaves for Montana for California.
He does manage to land one gig, a commercial for a mop. But Stu’s acting career never really takes off. Instead, he gets a job working in a deli. It’s there that he first spots Carmen (Teresa Ruiz), a Sunday school teacher. When Carmen tells Stu that she wouldn’t even consider dating a man who was not baptized, Stu begins RCIA at the local parish. Eventually, he’s baptized into the parish but it’s not until he’s nearly killed in a motorcycle accident and has a vision of Mary that he truly starts to believe. He also comes to feel that he’s been called to the priesthood, despite the fact that it means ending his relationship with Carmen. Stu enters the seminary, under the watchful eye of the initially skeptical but eventually supportive Monsignor Kelly (Malcolm McDowell). However, Stu soon finds himself facing his greatest challenge when he’s diagnosed with inclusion body myositis, a disease that will eventually rob him of his ability to care for himself.
When Father Stu was first released in April, it received a lot of attention for being an R-rated film about faith. But the fact that the characters frequently (and colorfully) curse is actually one of the best things about Father Stu. People curse. Both the religious and the non-religious curse. Catholics especially curse. When you find out that you have an incurable disease that’s going to kill you by the time you turn 50, you’re going to curse regardless of how much faith you may or may not have. Far too many films about religion seem to take place in some strange world where the 50s never ended and people still say, “Darn,” when faced with the world’s problems. To its credit, Father Stu‘s characters never lose their edge.
Father Stu also received a lot of negative attention for the involvement of Mel Gibson. That’s understandable but, at the same time, there’s probably no contemporary actor who is more convincing as a self-destructive alcoholic than Mel Gibson. For better or worse, Gibson brings a certain authenticity to the role and that authenticity is what a film like Father Stu needs.
In the lead role, Mark Wahlberg brings a lot of sincerity to the role of Stu. When we’re first introduced to Stu, he’s earnest but he’s not particularly smart. He doesn’t think things through. He’s the type of guy who will work hard in his job without understanding that it’s still not a good idea to show up at work looking like you’ve spent the weekend fighting people in an alley for loose change. As a result of Wahlberg’s performance, it’s easy to see why everyone in Stu’s life is skeptical when he announces that he’s going to become a priest. However, it’s also due to his performance that Stu’s eventual transformation is undeniably moving. Wahlberg’s rough-edged sincerity keeps the film from becoming overly mawkish after Stu discovers that he’s ill. He remains a fighter from beginning to end and it’s hard not to want to see him win.
Father Stu is probably the epitome of the type of film that audiences love but critics hate. But you know what? Sometimes, the audiences are right and sometimes, critics try way too hard to be cynical. Father Stu is a touching movie, one that serves as an antidote to the God’s Not Dead-style of movies about religion. It’s a good movie that, like its protagonist, never stops fighting.
His name was Zac and, for a few weeks during my freshman year of college, I thought that I might be very deeply in love with him. He was a tall, muscular 23 year-old with thick blonde hair that fell clumsily down to his shoulders. His face wasn’t really handsome. The sight of his pink lips surrounded by his messy blonde beard always left me wanting to buy him a razor. I often told myself that, whenever we had grown close enough, I would talk him into shaving his beard and revealing his true face, scars and all. I assumed he had scars though, in retrospect, I guess the beard could have just been there to try to disguise the fact that he actually had the face of a 12 year-old.
Zac wasn’t handsome but that was his appeal. I was 19. I was away from home for the first time and I was desperately trying to not to let anyone see just how scary that was for me. I’d already given the socially acceptable, alcoholic frat boys a try. I’d had my flirtations with the painfully sensitive types who wore their hearts on their sleeves and cried whenever I said I didn’t see myself getting married before I was legally old enough to drink. I’d had the fantasy men. Now, I was ready for a real man and I was convinced that reality was hiding underneath Zac’s grotesque mask of a beard.
I sat directly behind him in Intro. To Creative Writing and the first day of class, I sat there and I stared at the blonde hair cascading down over his shoulders. Over the winter break, I’d had a very brief fling with an aspiring screenwriter who, even at the age of 20, already had a bald spot. It had reminded me of the importance of a thick head of hair and, if nothing else, Zac had that.
The first day of class, each student took a turn going up to the front of the room, sitting on top of the teacher’s desk, and telling the class who we were and what we hoped to express with our writing. When Zac was had his turn, he told us that Jack Kerouac was a major influence on his life and that “No one is going to tell me how to write!” His nostrils flared as he spoke. When my name was called, I briefly stopped fantasizing about running my hands through the thick head of hair in front of me and I went up to the front of the room. I hopped up on the desk and I immediately mentioned that my ancestors came from Ireland, Italy, and Spain. No one appeared to be impressed by that unique combination. I said that I was a city girl with a lot of country inside of me. I paused and waited for a reaction that did not come. In my usual rambling manner, I continued to go on about myself. I was already feeling awkward and it didn’t help that it was obvious that, despite my best efforts to be cute in a flighty way, none of my fellow classmates were really listening to a word I had to say. Some were talking amongst themselves, some were looking over the class syllabus, and a few were just staring blankly at the wall behind me.
No one was paying attention to me. No one was looking at me as I spoke.
Except for Zac. As I rambled through my introduction, Zac never stopped looking at me and soon, I felt as if I was talking to him and him only. Of course, looking back, I also remember that I was wearing a short black skirt on that day and Zac wasn’t quite looking me in the eye. In retrospect, it’s probably a lot more realistic to assume that Zac was more fascinated by the color of my panties than anything I had to say about myself. If I remember correctly, they were hot pink. I always made it a point to wear colorful underwear whenever I was otherwise dressed in all black. It was my way of embracing the duality of nature.
But, on that day and at that moment, I wasn’t thinking about the duality of anything. All that mattered was that he paid attention to me and after that one class period, I decided I was in love with him.
As the semester continued, I would look forward to every Tuesday and Thursday because I knew I’d get to sit behind Zac and stare at his lion’s mane of blonde hair. Some days, he was very talkative in class as he would tell us why another student’s story was or wasn’t honest. Other days, he would sit in a sullen silence and I would wonder what inner darkness he was wrestling with. As the days passed, I wondered when he would finally read us something he had written. What mysteries would be revealed when he finally opened his soul.
One day, he came into class, turned around in his chair to face me, and held up a thick bundle of papers.
“I wrote this last night,” he said.
“Are you going to read it?” I asked, trying to hide my near-giddy excitement.
“No,” he replied before suddenly ripping the pages in half, “a true artist has to be willing to destroy what he creates.”
I sat there, shocked. I wondered if I would have the courage to be a true artist. I wondered if Zac would ever trust me enough to let me know what he had just destroyed. Yes, I decided, he would trust me. If I had to, I would spend the rest of the semester earning that trust.
Unfortunately, at our next class, Zac did read us the story he had previously “destroyed.” It was about an angry, rebellious, bearded 23 year-old who, one night, spotted a dead dog in the middle of the road and it caused him to reconsider everything that he felt he knew about his girlfriend, his friends, and the father who never understood why his son didn’t want to take over the family hardware store. It was a long, angry narrative about crushed idealism, spiritual ennui, and lots of profanity. The main character had a habit of responding to every comment with an angry one-liner and no one could ever refute his arguments, which I guess is the advantage of writing about yourself. It included a lengthy sex scene between Zac’s doppelganger and a high school cheerleader who was secretly fed up with being popular and I had to swallow a giggle when Zach hit the line, “His hands found her breasts,” as if they had previously gone missing. In short, it was really, really bad.
That was pretty much the end of things for me and Zac. The beard, the intensity, the self-righteous anger; it was all kind of annoying without any talent to go with it. Still, it was a good few weeks.
Zac read a few more stories over the course of that semester, all of which were about the same angry and profane 23 year-old who didn’t get along with his Dad and who spent his time “telling it like it is.” Usually, I zoned out whenever he was reading. Occasionally, he would still talk to me about his artistic insights and I would nod and smile without actually hearing what he was saying. He mentioned Keroauc a lot but I couldn’t help but get the feeling that Zac would have been one of the fans that Keroauc complained about in Big Sur, always dropping by unannounced and demanding to know if Kerouac had written anything else about Dean and Sal. About halfway through the semester, I think Zac finally figured out that I was bored with him because his stare became a bit less intense. I caught him rolling his eyes once as I read a story about an angry 19 year-old who always knew the perfect thing to say and who spent a lot of time considering the duality of nature. After the end of the semester, he disappeared from campus. Whether he graduated or dropped out or transferred somewhere else, no one knew. Actually, to be honest, no one cared.
I do sometimes wonder what happened to Zac. Is he still writing or did he eventually take over the family hardware store? And did he ever shave that ridiculous beard?
As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter. I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie! Every week, we get together. We watch a movie. We tweet our way through it.
Tonight, at 10 pm et, I will be hosting #FridayNightFlix! The movie? 1983’s Uncommon Valor!
Gene Hackman, Patrick Swayze, Robert Stack, Tim Thomerson, Reb Brown, Randall “Tex” Cobb, and Fred Ward return to Vietnam to save the POWs who were left behind by the American government. This action film features a once-in-a-lifetime cast and it even features a bit of dancing from both Tim Thomerson and Tex Cobb!
If you want to join us this Friday, just hop onto twitter, start the movie at 10 pm et, and use the #FridayNightFlix hashtag! I’ll be there tweeting and I imagine some other members of the TSL Crew will be there as well. It’s a friendly group and welcoming of newcomers so don’t be shy.
This Friday, at 10 pm, join FnF UNCOMMON VALOR! Check out this cast: Gene Hackman, Patrick Swayze, Fred Ward, Reb Brown, Robert Stack, Tim Thomerson, Randall "Tex" Cobb, and more! This film is available on Prime! pic.twitter.com/a1mKpIq6i7