Ever see The Paper?
This 1994 Ron Howard film focuses on a big-city paper where the staff are struggling to cope with personal crises while also covering a controversial shooting incident. Among the personal crises, the most interesting is Marisa Tomei, a former reporter married to editor Michael Keaton and expecting their first baby.
Tomei’s convinced that for all Keaton’s talk of being a co-parent, when the baby comes she’ll be stuck at home parenting while he puts in late nights at his job. It’s a valid fear: It’s quite obvious Keaton has difficulty putting her ahead of the paper on a daily basis. As Tomei comments at one point, he’s telling himself that in a crisis, he’d be there—but that’s an excuse for letting the non-crisis time with her go by ignored.
But it all ends OK. She has a baby, they coo over her in Tomei’s hospital bed and the camera fades out—so that proves everything got resolved, even if Keaton never showed any signs he was going to change, right?
I like happy endings. But endings that are only happy because the writers ignored the problems don’t count.
1982’s Victor Victoria is another example. In the course of the film, American mobster James Garner falls for Julie Andrews, who’s become a star of the 1920s Paris stage by posing as “Victor,” the world’s greatest female impersonator. Trouble is, she loves the independence posing as a man gives her, and doesn’t want to give it up, which means the city assumes Garner, when he’s with her, is another gay man (the attitudes of the main characters, I note, are much more 1980s than 1920s).
The solution? While Robert Preston takes over as Victor (don’t ask why), Andrews shows up dressed as a girl in the audience and sits next to Garner. The couple’s together, the ending’s happy—never mind that they never resolved any of Andrews’ issues, even at the “I have a man—I don’t need a career!” level of sexism.
Lost‘s final season had some of the same problems (I’ve discussed that here): We’re shown a happy ending in a parallel world, but it turns out to be the afterlife, so it doesn’t really resolve any of the personal issues that the characters had been grappled with (Your dead and God loves you is not a resolution).
It’s not necessary that writers resolve character conflicts of course. Many good stories have been written or performed in which some of the issues remain hanging at the end of the film, or they’re simply touched on as we pass through these characters lives. But that’s completely different from telling us the conflicts have been resolved, even though we don’t see any evidence of it.
Even in fairy tales, Happily Ever After isn’t that easy.
Monthly Archives: November 2010
If it’s such a happy ending, why aren’t I smiling?
The beauty of names
Fantasy author Kit Whitfield has an old post here where she discusses the importance of having a logical system of names: Names from a common culture should sound like they come from the same culture; non-English names should have a non-English sound or spelling too them (and she does not mean spelling William as Wylliam or similar trick); and that it’s awfully easy for one writer naming dozens of characters to make them all sound like they were named by the same parents.
She makes some good points. To which I’d like to add a couple of others:
•Names shouldn’t sound like famous names that readers will recognize. If you have a Chinese (or fantasy-Chinese) character named Confucius, for instance, I’d expect him to have some resemblance to the Confucius; if he’s just a generic wizard, it’s going to bug me.
For example, Marvel’s Tarzan series some years back featured a villain called Abdul Alhazred, the Mad Arab. As a Lovecraft fan, I assumed he’d be the sinister author of the Necronomicon but no, it turns out he’s not Abdul Alhazred the Mad Arab, he’s just Abdul Alhazred a Mad Arab (he was later retconned into being the Mad Arab after all). That was confusing to me and indicates a lazy job by the writer.
Similarly, Marvel’s short lived Golem series in Strange Tales featured a wizard named “Kabbala.” Didn’t bother me in the early seventies when I first read them, but now that I’m old enough to know what the Kabbala is it strikes me as absurd, like calling an evil wizard “Gospel” or “Koran” without a good reason (he didn’t appear to be Jewish or a kabbalist).
Of course, what constitutes a recognizable name is subjective. Robert E. Howard using “Acheron” for an ancient, evil kingdom in Hour of the Dragon sounds right to me, but other Greek-myth fans might be annoyed by his appropriating the name of one of the rivers of the underworld. Fantasy writer/editor Lin Carter disliked John Jakes use of “Nestorianus” for a holy prophet in the Brak the Barbarian books, recognizing it as cribbed from Christianity’s Nestorian heresy; even though I know of the heresy, I’d say that’s reasonably obscure enough to get away with.
•Names should sound right aesthetically.
Whitfield’s article focuses mostly on the cultural logic of names; I think the aesthetics are even more important. As Carter says in his excellent Imaginary Worlds, readers should not be thinking “that’s a funny name for a warrior/deity/creature” even if the linguistics are sound.
There are lots of ways to screw up aesthetics. Cutesy names. Books where all the names are flowing and kind of romantic, as Whitfield notes (though since she doesn’t provide examples, maybe she’d count some that I like—Imryrr, Melnibone, Yu-Atlanchi—in that category). Or the opposite, a mangled mess of consonants that’s meant to sound alien and only sounds ugly (Lovecraft could make Cthulhu work, but we’re not all Lovecraft—even though there was a time I tried to be). Names that just don’t sound right; as Carter puts it, a place like Stonehenge shouldn’t be called “Piccadilly.”
Of course aesthetics are even more subjective than obscure references, so there’s really no hard and fast rule here. Other than to paraphrase Mark Twain: The difference between the right name and the wrong name is the difference between lightning and the lightning bug.
A fantasy Civil War for right-wingers
I find it appallingly creepy when right-wingers hold up the Confederate secession as a good thing.
Right-wing pundit Walter Williams has written multiple columns explaining that slavery really was a pretty good arrangement for the slaves, and that the country would be better off if the South had seceded because it would have limited the rights of that eeevil federal government, thereby increasing freedom (for a discussion and a link, see here). Conservative Thomas Lucente, in a column a few years ago, expressed the same theory: Successful secession would have been a net gain for freedom.
It’s possible they’d argue that slavery would have died with or without a Civil War. That’s a widespread belief (though I’ve heard some historians disagree) but I don’t think that a USA (or CSA) in which slavery is still legal would be a good thing, even if it weren’t practiced any more; race relations are bad in our timeline, but in this fantasy counterfactual, with slavery hanging over the heads of black Americans, I suspect they’d be a lot worse. And that’s assuming it wouldn’t be practiced: It’s possible it might be at least a few people with the money to make it worthwhile, if only as a status symbol.
Even without slavery, it’s hard to see how the civil rights movement would have succeeded without the federal government backing it up (albeit reluctantly at times). And that took support for the movement from outside the South. Maybe a CSA president would have sided with civil rights the way Texan LBJ did, but I wouldn’t bet on it.
Williams has argued that secession wasn’t about slavery anyway, which is baloney. Read South Carolina’s declaration of secession: It doesn’t talk about tariffs or trade, only slavery. The north elected an anti-slavery president; the north refuses to return fugitive slaves; the north refuses to silence abolitionists; the north criticizes slavery. That’s the burr that chafed South Carolina, nothing else; you can find similar statements in the declarations of other states and by the Confederate leaders as a whole.
It’s even debatable that secession would have produced more “freedom,” even as regards Lucente and Williams’ limited definition of it. The Confederacy crushed attempts to secede during the Civil War (West Virginia was the only success, but not the only attempt). A new book called Confederate Reckoning argues that the CSA came much closer to 20th-century federal power than Lincoln’s government did.
I honestly don’t know if pundits such as Lucente and Williams really believe that a limited federal government is worth the continued existence of slavery, or if they’re just pandering. They appear to be writing for a right-wing audience and there’s a large chunk of the right wing that hates acknowledging racism in this country. They don’t want to admit it exists now; they don’t want to admit it ever existed or that blacks ever had a raw deal in this country. Being reassured that white America has nothing to feel uncomfortable about (or for the hard-core racists, that slavery was a Good Thing) is, I suspect, a smart move for a conservative pundit looking to build their brand.
But they’re still wrong, factually and morally.
Filed under Politics
Indexing: The final chapter
Done. And sent off. Still have to mail the proofs and the original manuscript back, but the index went off today.
I finished the main bulk of indexing Wednesday. Then I had to go through and check for entries that didn’t have a page number and figure out why (because I screwed up and missed them or because it was a misprinted name that doesn’t really exist).
Then I went over my corrections to the proofs and typed out a list of everything where the red-ink changes might not be easy to follow.
And now it’s all done. Huzzah!
Filed under Nonfiction
JFK, blown away …
As I continue indexing and proofing (yep. A reeeeally long cakewalk), I’ve been struck by how much the JFK assassination turns up in Screen Enemies of the American Way.
I was fully aware of the two assassination films, Executive Action and JFK, which present us with the supposed truth behind the supposed cover-up. But there’s much more …
•The Silencer. In this movie, a conspiracy operating out of the FBI gets the blame for JFK’s shooting (Martin Luther King, too).
•Tribulation 99, a mockumentary in which the alien Quetzals who put their nonhuman agent Castro into power in Cuba respond to the Bay of Pigs by taking Kennedy out. Oswald obviously couldn’t be human and shoot that fast.
•Salt reveals that Lee Harvey Oswald was one of the first Americans replaced by the “Day X” conspiracy; Kennedy’s death was one of their first triumphs.
•In The X-Files, the Lone Gunmen conspiracy theorists are, of course, named for the “Oswald acted alone” theory. In one episode, one of them makes an off-hand reference to having breakfast with the man who really shot Kennedy.
•Richard Shaver, in his stories of The Hidden World, asserted that the subterranean monstrosities called the Derro drove Oswald to shoot Kennedy.
•The Parallax View starts out with an political assassination. Two years later, everyone who claims to have seen a second gunman has died (the supposedly high death toll of the witnesses to JFK’s shooting has been a stock part of conspiracy lore for years).
•The film Winter Kills reveals that Joe Kennedy (or a reasonable facsimile thereof) had his son whacked for deciding he should serve the American people rather than the interests of the powerful.
That’s only the tip of the iceberg. Outside of the movies we’ve seen hundreds of books and articles exposing the “cover up” and others refuting them (plus of course just straight. As the book Voodoo History states, it’s probably the most mythologized event in 20th century American history.
Why? Partly, I guess, because it’s such a landmark memory for so many Americans (“Where were you when Kennedy got shot?”). And for so many people, the idea of one lone gunman destroying the leader of the free world isn’t satisfying. Like Pearl Harbor (widely blamed on saboteurs and fifth columnists at the time) and China turning Communist (one of Joe McCarthy’s arguments in the fifties was that it couldn’t possibly have happened if Reds in our own government hadn’t pulled strings) it’s easy to believe such a terrible event could only happen as the result of a conspiracy.
And if there’s a conspiracy, if Jack Ruby didn’t destroy the men responsible, then we can find them! We can punish them! We can gain justice! Or we can reaffirm how corrupt the world is by realizing these powerful people will never be brought to justice (the view of Executive Action, IMHO, and to some extent X-Files).
As the generation that remembers the Kennedy administration passes on, will the mythology fade? Time, I guess will tell.
Filed under Movies, Screen Enemies of the American Way
Something is missing here
In his recent column, pundit Frank Rich argues that Sarah Palin has a better shot at the presidency in 2012 than other pundits and political opponents give her credit for. He makes some good points (she does seem to connect with the resentment of the anti-elitist Repubs) but then he says this: “The same criticisms that the Bushies fling at Palin were those once aimed at Bush: a slender résumé, a lack of intellectual curiosity and foreign travel, a lazy inclination to favor from-the-gut improvisation over cracking the briefing books. These spitballs are no more likely to derail Palin within the G.O.P. than they did him.”
This is a tad … ingenuous.
As The Daily Howler website has chronicled over the years (here’s one example), Bush’s success wasn’t because his charisma or his Simple Texas Farmer image or his Rugged Jet Jockey Image won over the public or because people identified with him as a simple regular-guy alternative to Al Gore, Arrogant Intellectual Elitist. A large part of it was because the press liked him better.
The press hated Gore. They cheerfully embraced or sometimes made up stories about how Gore claimed he created the Internet, that he was the model for Love Story‘s protagonist and that he discovered the Love Canal toxic waste site (what he said was that a)in Congress he took the lead in promoting the Internet; b)a local paper had quoted Segal as saying the Gores were models for the leads in Love Story [and Segal later confirmed that while the paper had exaggerated Gore’s influence on the book, Al Gore was indeed one of several real-world models for Oliver]; c)that Love Canal kicked off the investigation into toxic sites. All accurate statements) and kept quoting them long after they’d been debunked.
When Gore and Bush had their debates, multiple analysts asserted that sure, Gore technically won the debate—but since everyone thought Bush would do much worse than he did, he was the real winner (one Howler entry shows how public perception of the debate changed to favor Bush after several days of this).
Some pundits and reporters admitted that they didn’t like Gore: He was too smart, like a high-school brainiac, where Bush was like the cool jock who they all wanted to hang with (I am not making that up).
Rich’s fellow NYT pundit Maureen Dowd wrote a column this year grumbling that if Gore had only been more passionate about the environment, wow, maybe he’d have won! At the time, she grumbled that his environmental blather about global warming put her to sleep (a horrifying number of national pundits have a long history of discussing how boring they find government policy as if that proves it unworthy of interest).
Dowd also admitted in an interview that Bush made as many inaccurate statements as Gore supposedly made, and about more substantial policy matters, but it was more entertaining to mock Gore’s gaffs (see what I mean about finding policy boring?).
None of which proves that Palin couldn’t win; two years before the election, that’s anybody’s guess (pundits’ fondness for making predictions this far ahead is another thing that annoys me). But using Bush as evidence that such long shots just well, happen and not acknowledging the press role is just CYA bullshit.
What if? thoughts on counterfactuals
One of the things the book The World Hitler Never Made points out is that alternate histories are often shaped by the politics of this timeline.
For example, the 1990 TV movie Running Against Time hinges on Robert Hayes’ conviction that if JFK had lived, he wouldn’t have committed ground troops to Vietnam and Hayes’ brother wouldn’t have died there. It’s primarily a time-travel thriller (needless to say, his efforts to stop the assassination don’t work as planned), but it also makes assumptions about sixties politics and the war being a mistake.
Phyliss Eisenstein’s Shadow of Earth presents a world where the Catholic Church crushed its opponents (in this case, the Anglican Church), leaving an oppressive theocracy in place. It’s one of several stories I’ve read that use a similar principle, and, obviously, send a message about religious freedom and church/state separation.
L. Neil Smith’s The Probability Broach is a heavy-handed polemic showing how if the USA had stuck with the Articles of Confederation we would have More Freedom, an end to slavery and no genocide against the Indian tribes. Smith’s rationale is ludicrously implausible, but it clearly reflects his faith in libertarianism.
Among Nazi counterfactuals, there are also a couple of libertarian ones which argue that if we hadn’t made war on Germany, the Reich and the USSR would have exhausted each other and the world would be better off today. Or that over time, the repressive fascism of the Reich would have faded, just as most revolutionary governments lose their zeal, and the world wouldn’t be that different. Both powerful political statements.
And then there’s the TV movie CSA presents a world where the South won, slavery endures and the modern Confederacy seems interchangeable with current real-world white supremacist movements (virulently anti-Semitic, which wasn’t a particular Confederate trait back in the day).
Even in an alternate timeline it seems, you can’t run away from the world we’re in.
I came, I saw, I indexed!
I finished the cast/credit section which is, obviously, the most top-heavy on names. 26 pages, took me … well, I wasn’t keeping track, but a lot of hours. Exacerbated by a couple of non-writing emergencies (resolved now).
The remainder of the book will be relatively simple. I should be back to normal blogging next week.
I am slightly annoyed to discover—
a)I left out Million Eyes of Sumuru and The Enemy Within from the cast/credit section. Hopefully we can squeeze them in at the end.
b)I keep thinking of things I should have mentioned, like the fact the shopping scene at the end of the Stepford Wives remake has to be an intentional imitation of the shopping scene at the end of the original. Of course, that just drives home how much better the first one was: It ends on a note of horror as the fembots carry out their duties, while the second one is a wacky note of fun—what could be a better punishment for all those guys mindcontrolling their wives than making them do girly stuff like grocery shopping? Not to mention that in this version, it’s ultimately a woman who’s behind it all, not the men. And that although Kidman’s the lead, it’s Broderick who’s technically the hero—if he didn’t relent on mindwiping her, she had no solution to saving herself. As I’ve said before, it’s made 30 years after the original and it’s actually more sexist.
Okay, that rant over—one thing which does interest me is when I do the cast/credits, names keep popping up, over and over in different movies. Nothing worth mentioning immediately comes to mind, but it always surprises me. And it shows why having a good index is worthwhile—anyone wanting to look up Roland Got or Philip Ahn films in my book can find them easily enough.
Sorry this is a little rambling, but it’s been a looooooong day.
Filed under Screen Enemies of the American Way, Writing
Why I hate indexing
I finished Phase One of indexing Screen Enemies of the American Way today: Getting every name in my book (names of people and names of films and TV shows) in alphabetical order. Now, as I go through and proof it, chapter by chapter, I’ll also attach the right page numbers to those names, chapter by chapter.
The proofing isn’t too bad; indexing is truly a tedious, mind-deadening, crawlingly slow activity. Alphabetizing is probably the worst part, but not the only dull part; I now have more than 100 pages of names (in single-column format), and every time I find one in the manuscript I’ll have to find the name, note the page, then find another name, note another page …
Another annoyance is that while indexing, I discover so many damn errors in what I thought was a well-proofed manuscript. I remember when working on Wizard of Oz Catalog, I decided that next time I’d alphabetize the name before I sent in the manuscript, for precisely that reason. Only I wound up in a time crunch and didn’t. Now I wish I had.
But it will be done and off by next Wednesday. Guaranteed. Come what may. Or, at worst, Friday. It goes to the printer in four weeks, so I can’t take it easy (except tonight, the last four hours of alphabetizing wore me down).
Filed under Screen Enemies of the American Way, Writing


