You know why Sun Chips come packaged in those opaque bags? I think it has a lot to do with that near baby-shit brown coloring of the chips themselves. Had they been packaged like normal snack foods, you’d see them behind that little window in the bag and think “Those look more Earthy than the name implies. Perhaps more like the contents of the colostomy bag found attached to a mummy. I am an American, and demand that MY Sun Chips look more yellow, as the sun itself,” and then Neil Degrasse Tyson could step in and reclassify the snack as something else, because that’s what astrophysicists do, obviously.
And don’t even get me started on the potential of a sixteen show series from Michio Kaku that would dig deeper into the mystery of the off-colored “red giant” chip, or the even more rare stellar collision, wherein two chips have merged into one unit (occasionally, there’s like five PLUS in some globular cluster, forming this nebula of not-quite Sun Chippy-goodness that you avoid because it’s more like the weird characters in Tod Browning’s 1932 film Freaks than some food, and you just can’t bring yourself to touch it, but can rest assured that some talent-less hack would have stolen the entire premise for a shitty cable series like some eighty years down the road).
That said, try a little fucking harder, Sun Chips. I demand accountability from my snacks. Now, about this “Milky Way” bar, and the obviously sloppy anatomical research by the “Butterfinger” people…
Oscars on your mind? Me neither, because I work for a living. But that didn’t stop me from crafting a little Movie mash-up for you. I’m a giver, after all. That said, enjoy this blended mash of Titanic and The Revenant. I call my treatment Titanic Number Two: The Remnant.
All I ask is that you sticklers suspend your “timeline” and “historical facts” bullshit for this overview. This is a movie. They’re meant to entertain. We have books and whatnot for “facts” and “historical preservation.” Go read one.
A Gilbert Grape-era Leo is in steerage aboard the Titanic, which is transporting French carnival animals to the US, because the American ones don’t smell enough to be taken seriously (also, Chris Rock needed a paycheck, and his reprising of the whole Zebra voice-over role really adds a Jar-Jar Binks quality that many dramatic films seems to miss lout on). While a stowaway, Jack Grape befriends a bear, and the bear shares his food, and Jack draws pictures of it in fecal matter (whose, exactly is never discussed) on the walls as dramatic music is played. Stanley Kubrick can guest-direct this scene as an homage to his own work, that self-important hack. Eventually, a bored First-Class passenger wanders to the lower decks in search of adventure and trendy bohemian-looking trinkets to steal from the dying, or to trade items from the cheese cart with the near-dying. Leo meets this girl, and they do it in front of the bear. Sex back then wasn’t all that romantic. Hell, these two do it right there, and Jack even draws a picture of it using fecal matter, the source of which is known this time.
The Titanic is taken hostage by a group of Russian paramilitary types, and their poorly-drawn map (stolen from a Dora the Explorer activity set) guides them straight into an iceberg, placed into the script so that the Liberal director can voice his opinion on global warming by killing eleven hundred penguins (again, suspend your geographical knowledge). As the boat sinks, Jack chooses the girl over the bear as sex with her proved slightly less painful. However, the bear survives, making its way South through Canada (in the two movies it takes to cast many, many cameo appearances) to find Jack, where it wreaks a revenge similar to Misery, but all Smaug the Dragon-like, assuming that he were breathing poo instead of fire.
Leo gets help from three penguins who survived the original wreck by latching onto his nipples (to explained in the Director’s Cut), all voiced by Liam Neeson, and they capture the bear, and skin it for a rug in their new home.
In the alternate ending, we learn that the whole thing was a dream, taking place in the subconscious of Jack’s alternate personality.
All of this “racial equality” talk surrounding the Oscars really got me thinking. While I can agree that some feel slighted, it’s the prevailing attitude of “my personal feelings and cause are the most important thing in the world” which always leads down the same path toward “screw logic and making sense,” and that’s not always a good thing. I mean at least not in the sense of accomplishing anything, anyway.
In my world, it serves grand purpose. And that purpose is absurdity.
Demanding that someone be nominated, even when they’re not qualified in comparison to whatever the field happens to be is just another case of “everybody gets a trophy,” and that tarnishes the $10 dust collector. ANY award should be a symbol of the hard work put in to best the competition, correct? If you just give everyone praise, regardless of the quality of work presented, you wind up with a society loaded with self-important idiots. You can’t name everyone a Spelling Bee Champion… Otherwise you have to deal with some stupid motherfucker who can’t spell “probably” or doesn’t know the difference between “lose” and “loose.” Sounds pretty straightforward, right?
That said, I’ll just cave to the dumbing-down of everything, and agree that we all deserve a trophy to ensure an inflated, false sense of ourselves. And with that whole Oscars thing fresh in our minds, why not just remake a film to suit this attitude? A lesser man might look to the 1980’s and an action film or cartoon to start with, but I am not “lesser.” I’m going big.
Imagine, if you will, Roots as a racially-equal feature film. The feel-good comedy of the Summer, starring Jim Gaffigan as Kunta Kinte. Where the miniseries was biased toward having many black actors, this new version will have total equality. I mean sure, we’ll have to change most of the plot, and rewrite nearly every scene, but what’s more important? Some “story” or “everybody gets a part?” I’m thinking “road comic nails sit-com deal, but finds the contract to have all sorts of hidden clauses, and hilarity ensues as he tries to get out of the deal.” Based loosely on The Producers and Tootsie (and assorted chapters from the first three Dianetics books… I mean who has time for all of that self-analysis bullshit in the fourth?) I’ll hire Tyler Perry as a co-writer and we’ll bring the funny across demographics and whatnot. I already have the marketing tag line:
“The original had people in chains… But this remake will leave you in stitches!”
See how fucking stupid the whole thing sounds? You want to change things moving forward? Write an intelligent script that avoids racial stereotypes and pitfalls, cast it properly and produce the damned thing with some care. THAT is what will win awards; not bitching and boycotting. Besides, what the fuck have you done of any note lately, Jada? Roll credits. (stinger to feature Roger Moore as me dropping a mic and exiting the screen via levitation)*
* Consider the genius of a William Castle-esque gimmick, wherein the audience that sticks around for the stinger feels a bump on their feet following the mic drop, and they receive a souvenir microphone that plays a half-dozen phrases from the movie
Been having one of those weird times again where I question everything… Kind of caught between wanting to just jump ship and move on to new things, but knowing that the timing isn’t quite right yet. I mean, don’t get me wrong, I’m lucky to do something that I’m marginally decent at, but I’ve been seeking some sense of fulfillment, some understanding that what I do can matter.
And along comes my pal DW, and things got a little clearer.
I’m a big believer in the philosophy that you meet people or experience things for a reason, and making friends with him some years back has proven that way of thinking correct over and over. Man, you know I can’t thank you enough for the times you’ve set my head straight.
When DW had asked me some years back if we could include a few line drawings in shipments from Welder Series as coloring pages for customer’s kids, I thought “why not! It could be cool.” It offered a chance for the kids to get something they might use, and maybe spend time with Dad. The hot rodding thing all starts someplace, after all… Might be a car show for some, building a scale model at the kitchen table for others. Perhaps some kid will look back on coloring with their father one evening. And then I saw his post regarding just how those sketches were being used.
From his post:
Know here and now that every act can have some effect, whether seen or unseen, and may take place right in front of you or far away. Had I not read DW’s post, or had his customer not shared what his wife had chosen to do, I’d still be happy hoping that some kid was enjoying them. Knowing that a teacher cared enough about the kids in her care to go an extra step and inspire them is far beyond icing on the cake… It’s proof of concept that the plans we have in the works here CAN work. And “work” is certainly the key word in all of this. But it’s that sort of work that I enjoy more than anything.
Thanks to DW and his family at Welder Series, and thanks to his customer for taking that step to show his wife the coloring pages, and then to her for going that extra mile… and man, thanks for shining that light this way. I think I’d have seen it even if things had been a lot brighter all around, but having it come on when it was darker really made me appreciate it even more. And that made a LOT of things very, very clear indeed.