Feb 212015
  February 21, 2015

With two days left till the Oscars, thus one day left till If I Ruled the Oscars, I wanted to discuss one last category: Most Disappointing. These films are not necessarily bad. Some are quite watchable. Just, for one reason or another, they were a disappointment.  My nominees were:

  • Godzilla
  • The Hobbit: The Battle of the Five Armies
  • Interstellar
  • The One I Love
  • The Tale of Princess Kaguya

Most disappointing is going to be a more subjective category than the others since it is partly based on expectations. It also includs different kinds of disappointment coming from different sources. So let me take them one by one.

Godzilla. This was disappointing based on the rapid, fanatical announcements from both the filmmakers and fans-supposedly-in-the-know that this film was going to remedy problems with previous Godzilla films. It was set up to be an antidote for the 1998 American film, and was said to be going back to the franchise’s roots. So the expectation was set that this was going to be a substantive film related to the brilliant 1954, Gojira. Or, possibly, it might be a fun romp, like the 1964 Godzilla vs Mothra. But no. What they did is go back to the early ’70s ridiculous snooze-fests, with Godzilla as the savior of mankind and far too much time spent on humans who either watch a screen or take part in pointless military action. If they just said they were replicating the bad old days of Godzilla films, it wouldn’t have been disappointing.

The Hobbit: The Battle of the Five Armies. OK, It seems strange to call this disappointing when, after five films, it was clear what we’d be in for. It was going to be long. It was going to be slow. It was going to be slow. Wait, I said that already. Oh, it was worth repeating. It was going to get off track. So, no surprises. But The Hobbit 3 was disappointing (or rather, part of a three film disappointment) in a different way—in what it could have been. With so much talent on board, The Hobbit could have been an excellent film, if someone would have had a long conversation about restraint with Peter Jackson. But they didn’t, or he didn’t listen, so, it is a nominee.

Interstellar. Here’s a film that earned its nomination the old fashioned way: hype. Confused film critics (who somehow didn’t understand it) and mislead early audience members just got it wrong, and then shouted about how great it was. “Oh, it is so smart.” “Oh, it is so sciency.” “Oh, it’s 2001.” But it’s not. It is slow, and dim, with more exposition than any film I’ve ever seen. Over and over characters spell out everything that is happening. Did Nolan think he was making a radio drama? No, it is not a terrible film. Far from it, but it does not live up to its hype.

The One I Love. This one’s on the list for the same reason as Interstellar, just within a smaller group. Plus, it is actually a good film. Perhaps the best film of the five nominees. But in the indie, hipster, crowd it’s the second coming. It’s good, just not that good.

The Tale of Princess Kaguya. A nice animated feature that could be improved with editing, The Tale of Princess Kaguya got it’s nomination as a disappointment for the same reason it got an Academy Award nomination for best animated feature. It was made by Studio Ghibli. That’s Hayao Miyazaki’s company, and people, myself included, assume that things connected to Miyazaki deserve our attention. But this isn’t his film, and while nice, it is not up to the level of Howl’s Moving Castle or Spirited Away.

And that’s it. Which was the greatest disappointment? That’s for tomorrow.

Feb 212015
  February 21, 2015

The nominees for the Ray Bradbury Award for Outstanding Dramatic Presentation were announced today and I was amused to see how closely they resembled my If I Ruled the Oscars nominees for best screenplay.

My Awards:

  • Captain America: The Winter Soldier
  •  Edge of Tomorrow
  • Guardians of the Galaxy
  • The Lego Movie
  • Predestination

Bradbury Awards:

  • Captain America: The Winter Soldier
  • Edge of Tomorrow
  • Guardians of the Galaxy
  • The Lego Movie
  • Birdman or (The Unexpected Virtue of Ignorance)
  • Interstellar

The Bradbury awards have 6 nominations and included one film that wouldn’t qualify for mine due to lacking fantasy/SF content, so if we take theirs down to 5 by eliminated Birdman, the only difference is Predestination vs Interstellar. I suspect that too few people saw Predestination for it to be nominated. Plus, Interstellar can look good if you don’t think about it too hard. The whole incessant exposition thing (so much exposition – see Nolin’s 2001: A Space Odyssey) takes it out of the running so that makes the lists identical where it counts.

 

Feb 202015
  February 20, 2015

I am so proud to announce that Eugie’s short story, When it Ends, He Catches Her has been nominated for a Nebula award.  You can read it at Daily Science Fiction and read about the nominations on the SWFA site.

The story was published on September 26, 2014, the day before she died, and contains her thoughts on life and death, both personally, and for everyone. I love the story, even if it makes my eyes water.

Feb 182015
  February 18, 2015

Yes, I’m sure you are. Coming up in just a few days will be the announcement of the winners from If I Ruled the Oscars. What, you were thinking I was speaking about the Academy Awards? Come on, when was the last time the Oscars were relevant? When was the last time they actually chose the best picture of the year as the best picture of the year? How about their ability to pick best director? Hitchcock, nah. Shall I mention The Greatest Show on Earth? Forrest Gump? Kramer vs. Kramer?

Forget them. Stick with me.

So a few thoughts on my five Best of categories to get us in the mood.

There’s not a great deal to say about Best Feature as this is a pretty standard category. All of the films are very much worth seeing, and a majority of them are deserving of a top award. You’ll just have to wait to see what edges out what.

Best Animated Feature is also a standard category, far more so in that my genre nominees are overlapping the Academy nominees three-fifths of the time (Big Hero 6, The Boxtrolls, How to Train Your Dragon 2). Enough has been said throughout the Internet about the Academy’s bizarre misstep in not nominating The Lego Movie. My fifth choice, Penguins of Madagascar is a film that is much better than non-me critics have said and far superior to the other Madagascar movies. Funny and exciting, it is an underrated film.  Instead of those two, the Academy chose Song of the Sea and The Tale of Princess Kaguya. I cannot comment on Song of the Sea. I disqualified it because it was pretty much impossible for me to see in a timely manner. As for Kaguya, ignoring its 2013 date, it earned its nomination purely based on being from Studio Ghibli, Hayao Miyazaki’s company, but it is no Howl’s Moving Castle. It is not a bad film, but is in need of an editor.

Best Screenplay is not as robust of a category this year. A good screenplay is needed to make a good film, and all five films have good screenplays, but none are truly great. It will be hard to choose a winner when all nominees are good, but none pop out beyond their peers.

Best Character [Creation] is a new category for me, and one I think will stick around as it combines elements that must work together to make the audience care. Makeup, CGI, non-CGI effects, performance—none of these are enough on their own (well, performance can be). But when all work together the results can be astounding. It is also a very strong category. I didn’t walk away from Dawn of the Planet of the Apes thinking about the plot (except for the lack of ending) or theme; I was dwelling on how astounding Caesar was—how much of a real person he was. Similarly Rocket is perfectly created in Guardians. Maleficent, the film, has many detractors, but even they give a nod to Angelina Jolie in the “role she was born to play.” The Hobbit, all nine hours of it, dragged and skittled about where it had no need to go, but there was no flaw in the drawing of Bilbo, Thorin, or Tauriel. They seemed completely real. As for The Beast, in the new version of Beauty and the Beast that I am guessing few who are reading this have seen, he manages to pay homage to tradition while not copying the past.

Which brings me to my last category, Song. I gave up on trying for a Best Original Song category as I could not find enough nominees (nor could The Academy if you look at a few of their choices). And sticking with Original Song would fail to honor some of the best moments in film for 2014. So I went broader, allowing any use of music as a potential nominee. The result is one of the strongest categories of the year, and one very difficult to judge because so many of them pop. “Everything Is Awesome” is the heart of The Lego Movie with its deeply cynical cheerfulness. The goth rendition of “Once Upon a Dream” defines Maleficent, plus is simply beautiful. Then there’s “The Hanging Tree.” The Hunger Games: Mockingjay – Part 1 is not a great film. It has been a weak franchise. It lacks heart. It is drab and emotionless. But not during that song. Then, it is moving and captivating. No one can deny that the Awesome Mix Vol. 1 made Guardians of the Galaxy and I almost nominated the entire mix. Based on the trailer, I’d have gone with “Hooked on a Feeling,” or if I’d gone with my childhood, it would have been “Go All the Way,” but in the film, it is “Come and Get Your Love” that sets the tone.

That’s the rundown. Which will win?

Feb 172015
  February 17, 2015

There’s been some arguing in the science fiction and fantasy literary community in the last few years that a very small group of people think is very important. That the larger group of fans neither notice nor care about this is lost on those who believe that everyone is watching and what they do will determine the future.

The argument may be about societal shifts in race and gender, or it may be about politics. It most often appears as racist outbursts from a group calling themselves Sad Puppies because
 well, they give a kind of reason but I’m thinking it’s because someone had a very white puppy when he was a kid.

I’ve avoided this ruckus for multiple reasons, not the least of which is that I’m not a well-known or even not-so-well-known author. But a recent post (here) just struck me as unintentionally funny, and I just can’t ignore funny. John Scalzi has already framed his own reply (here), which makes mine a bit silly since the number of people who will read his is astronomically higher than those who will read mine, but then, I have a different take on it, and besides, I’m tired of doing the work I’m supposed to be doing.

The post is by one William Lehman, who appears to be just about as famous as I am. He calls for his followers to “take back” the sci-fi conventions from
well, from some vague group that he doesn’t like that apparently have an agenda of not giving him the appreciation he is certain he deserves. The closest I can get to sense in this is that he is a manly-man—a geeky, hard science, manly-man—and that those not giving him awards are feminized, soft-science, wimpy sorts. I’d say pinko-commie would be implied, but does anyone actually say that any more? I will grant you, my interpretation comes from reading other diatribes by Sad Puppies that tend to dwell on how the white man is being kept down.

Scalzi looks at what he can find as arguments and attempts to refute them. But I don’t think this is about arguments. This is a man-off, 1960s style. Lehman wants to be a manly-man, and those darn women-types are stopping the spread of manliness. Because
westerns and George Washington and myths.

OK.

I’m game. Let’s play.

I’m a white male, and getting to be an old white male, and I don’t apologize for it, or for most anything. I was raised by a marine, and spent a large amount of my childhood playing soldiers, stalking other children with guns or laying out strategies with armies of plastic warriors. I also played on train trestles, leaping off one side into the creek only when the train reached the far side. I also got in my share of fights, with a grey front tooth and a scar in my scalp as reminders. i.e., a pretty good boy-to-manly-man childhood. I watched a lot of war films and cheered. I also read: Wells, Verne, Asimov, Clarke, Heinlein, Niven. (Authors that count to Sad Puppies.) I did the sports thing in high school and then went on to study physics and math at university. Physics, not psychology. Physics, that thing that is the height of the hard sciences. I do recall teasing the soft-scientists a bit. Also recall teasing the engineers for pretty much the same reason
engineering is soft compared to physics. Not that I didn’t learn to build things. I worked out how to make a nuclear bomb (it really is surprisingly easy). I think that counts. Oh, and I did quite well with girls, which I believe is the number one most manliest-man thing. I dated many, was rarely without, and married a girl who both modeled and won contests for her beauty and sex appeal. She had other attributes, but they are irrelevant to our man-off. And I use the world “girl,” which I think gets me another point.

So, if that doesn’t win me that manly-man thing, it at least puts me in the same man-centered, testosterone-fueled, manly-man sphere as Mr. Lehman.

And if I may take a moment to raise my geek cred, I am a director at a convention. If we go by size, and word it “fan-run” so we can unfairly ignore Comic-con, I am a director at THE convention. It doesn’t get bigger. Now I don’t run the literary side. I do film. But I do communicate with those who run the literary panels, and I assure you, they don’t sit around dwelling on how to be a culture warrior. Really, most of the time is spent saying “OK, I’ve got this celebrity guest, and that celebrity guest. How can I get them both into this block when they want to be signing autographs at that time?”

That makes me a geeky, hard-science, manly-man. And now, here’s the thing—if I may address Mr. Lehman directly—the point that you missed: Manly-men
they don’t whine. They don’t complain about how other people don’t appreciate them. They don’t pout when they don’t get awards. Oh, and they don’t have role-models, and rarely heroes (you know, like gun-slingers). You talk about the myth of the cowboy, but your cowboy wouldn’t be out there with his six shooter; he’d be sulking because the rest of the town didn’t give him a super-sheriff coffee mug. In your version, the silent Pale Rider would come to town, and then in the third act, instead of shooting anyone, would just start talking and talking about how no one realizes how cool he is. And I don’t think you understand the myths. A western gunman is not something you want to be. That’s a main part of the myth.

I’m trying to remember the Robert Heinlein story that featured a man’s-man warrior sort, who was really grumpy that no one would tell him how swell he was. I can’t seem to. Huh. Wonder why?

So, from one Manly-man to another (who’s not looking quite as manly as he should), here are a few rules and suggestions. Fear is not manly. Stop being afraid of women. Really. Be nice to them and they won’t bite you. Stop being afraid of non-Caucasians. They don’t bite either. And stop whining. You want more he-man science fiction? Write some. Don’t complain. Don’t whine. Don’t pout. Write. And if what you write is really, really good, maybe you will get some of that not-so-manly attention you seem to crave. Of course, not giving a fuck would be manlier.

For me, I don’t give a fuck about much. Truly, I care about very little now. Life will do that to you. You’ll learn about that when you grow up. But I do care about the Nebula and the Hugo awards. I really do. And next time I read a nice article about them, I don’t want to run across your whining. It sounds wimpy. Nor do I want to see anything from wimpy puppies. Stop being a wimp and man-up.

Feb 162015
  February 16, 2015

If there is a best, there must be a worst, and it is far more important to point those out. Otherwise, how will the filmmakers ever learn just how terrible they are. Again, keeping it simple for this year, So:

Nominations for Worst Feature Film*

  • Hercules
  • Left Behind
  • Noah
  • Teenage Mutant Ninja Turtles
  • Transformers: Age of Extinction

 

Nominations for Most Painful Performance

  • Johnny Depp as Napping Guy in Transcendence
  • Kelsey Grammer as Guy Just Getting a Paycheck in Transformers: Age of Extinction
  • Mark Wahlberg as Overacting Abusive Father in Transformers: Age of Extinction
  • Megan Fox as Drunk & Confused Gal in Teenage Mutant Ninja Turtles
  • Nicolas Cage as Under-acting Nicolas Cage in Left Behind

 

Nominations for Most Ridiculous Time Filler

  • Godzilla – The human soldier does
things
  • The Hobbit: The Battle of the Five Armies – No, really, another orc getting stabbed
  • The Hobbit: The Battle of the Five Armies – Every other frame
  • Interstellar – Earth
  • Noah – Let’s kill the grandchildren
  • Transformers: Age of Extinction – Every scene with Mark Wahlberg

 

Nominations for Most Disappointing

  • Godzilla
  • The Hobbit: The Battle of the Five Armies
  • Interstellar
  • The One I Love
  • The Tale of Princess Kaguya

 

Nominations for Most Egregious Exposition

  • Dracula Untold – Voice over
  • The Giver – Voice over
  • Interstellar – Explanatory speeches masquerading as dialog.
  • Teenage Mutant Ninja Turtles – Turtles explaining the story
  • Noah – Recap of The Bible

 

*Because a worst list would have been nothing but little-seen, found-footage films, I simply ignored those — not only the horror ones, but the SF (Earth to Echo), and the not-comedy (A Haunted House 2) ones. They’re already winners.

Feb 162015
  February 16, 2015

If I Ruled the Oscars there would be no pretentious and horribly inaccurate bio-pics, no plotless dramas, no hipster indies. Instead, we’d be awarding genre films.  With this being a rough year, I’m keeping my nominations short and sweet. Just 5 best of categories.

Nominations for Best Feature Film

  • Captain America: The Winter Soldier
  • Guardians of the Galaxy
  • Maleficent
  • Predestination
  • X-Men: Days of Future Past

 

Nominations for Best Animated Feature Film

  • Big Hero 6
  • The Boxtrolls
  • How to Train Your Dragon 2
  • The Lego Movie
  • Penguins of Madagascar

 

Nominations for Best Screenplay

  • Captain America: The Winter Soldier
  •  Edge of Tomorrow
  • Guardians of the Galaxy
  • The Lego Movie
  • Predestination

 

Nominations for Best Character Creation (a combination of makeup, effects, and performance)

  • Beauty and the Beast – The Beast
  • Dawn of the Planet of the Apes – Caesar/the apes
  • Guardians of the Galaxy – Rocket
  • The Hobbit: The Battle of the Five Armies – Bilbo/Thorin/Tauriel
  • Maleficent – Maleficent

 

Nominations for Best Song/Use of a Song

  • Come and Get Your Love – Guardians of the Galaxy
  • Everything Is Awesome – The Lego Movie
  • The Hanging Tree – The Hunger Games
  • Little Boxes – The Boxtrolls
  • Once Upon a Dream – Maleficent

 

It was a reasonably good year, with some top notch choices, but not a lot of them. I was straining for a 5th nominee in each category. As for editing, I’m saving that for my Worst of the Year nominations.

And to make this a little easier on me (I’m cutting myself a good deal of slack), I only counted films that had 2014 dates in IMDB, which knocked out a few Internet favorites.

Feb 142015
  February 14, 2015

People seem to like comparing Nolan’s exercise in extreme exposition, Interstellar with Kubrick’s opaque and nearly non-verbal 2001: A Space Odyssey. So I thought I’d help that along with my latest finding. Here are a few pages from the end of an early draft of 2001 where Kubrick was thinking like Nolan. Perhaps Nolan even used gravity to write that earlier draft in Morse code on a watch which would certainly keep moving as if gravity was still tapping on it
because of love.

________________________________________________________

[EXTERIOR: SPACE]

Dave: OK, I’m going into the monolith now. The monolith is a piece of alien technology built to help humans to evolve. It was placed on Earth to evolve our ape ancestors, and then on the Moon, where it sent a signal to this location in space when we dug up, as a kind of call back home to the aliens that made it that we’d achieved space travel. This is another monolith. Oh, it isn’t at all clear it isn’t the same one moving around, but lets just say it is another one. Oh, and I’ve fixed HAL, and he’s going into the monolith too, but on his own.

[EXTERIOR
or INTERIOR: MONOLITH – A lot of colors]

Dave: I’m in now. A lot of colors. Seems like I am traveling through a worm hole made by the aliens to take me to some far away part of the universe. Where I’m going, and how I’m going are outside of normal spacetime as understood by humans. So, I’m not just in the monolith. Repeat, I am not just in the monolith.

HAL (over radio): Hiya Dave.

Dave: Oh good, HAL, you made it too.

HAL: I sure did Dave, and have been listening to your talk to no one, and I think you are right on the money.

Dave: Still lots of lights. In case you can’t see those, there are lots of light-effects around me. I’m thinking because the aliens are higher dimensional beings and we’re only three dimensional ones.

HAL: I couldn’t agree with you more.

Dave (solemnly): And HAL
Gravity.

HAL (equally solemnly): Gravity to you Dave.

Dave: Well, we’ve been in this worm hole for a while. I’m going to call it a tesseract because it feels like a tesseract to me, and besides we need more explaining words.

HAL (again, solemnly): Tesseract.

Dave: HAL, I don’t think the aliens are really making me see lots of streaky lights. I think I’m doing that to myself. Due to love. Because love really is the answer. What’s more, I don’t think the aliens are alien at all. I think they are humans in the far future who’ve evolved into five dimensional entities. I have no reason for thinking that, but I’m really really sure of it.

HAL: Again Dave, I think you’ve got it.

Dave: It happened a while ago, but I think this is a good time to bring up you going crazy and killing folks because it really isn’t clear why you did that. I’m thinking it is because there was a contradiction in your programming. You know, because you had to lie to all of us.

HAL: That makes sense Dave. Not a lot of sense, but some.

Dave: Just wanted to clear that up. I suppose it could also have been me, reaching back in time via gravity and screwing up your programming, possibly when I was putting the original monolith in place using gravity.

HAL: I find that a bit disturbing Dave.

Dave: Me too, so lets go with that other one. That is the official explanation now.

[INTERIOR: Stark white room]

Dave: And I think this is all going to work out, with love and gravity. Oh, the lights have stopped, and now I’m in a stark white room.

HAL: Me too Dave.

Dave: I know you can see the room, but it never hurts for me to talk about how white it is, and stark. It really is white and stark. Oh, and I think it is a kind of zoo, an alien zoo with this room looking the way it is due to TV signals that the aliens—oops, I mean future humans—have picked up.

HAL (with respect in his voice): You do have a knack for figuring everything out Dave.

Dave: I’m pretty sure, in this timeless place, that I’m going to age, both actually, and metaphorically representing all of humanity. Yup, here I go, aging. See me age. Oh, I aged again. Annnnnd
again.

HAL: Please continue Dave. Though I can see it all myself, I would feel lost without you telling me.

Dave: No problem buddy. Just about at the end of my life, you know, metaphorically. So, I expect some big change any moment. And gravity. Oh, monolith here again. I’m going to reach out to it, metaphorically.

HAL: Gravity Dave.

[EXTERIOR: SPACE but with Love]

Starchild Dave: Oh, I’m a giant fetus is space. We’ll call me a Starchild. I am the next step in human evolution. And the future humans have dropped me off back at Earth so I can love on it a bit. Because it’s all about love. Hello Earth, going to love all over you now. Love.

HAL: And Gravity Dave.

Starchild Dave: And gravity

Feb 092015
  February 9, 2015

The list of Fantasy/Sci-Fi Films eligible for If I Ruled the Oscars.

 

Live Action

A Haunted House 2 Ouija
Annabelle Paddington
As Above, So Below Paranormal Activity: The Marked Ones
Beauty and the Beast Predestination
Captain America: The Winter Soldier RoboCop
Dawn of the Planet of the Apes Seventh Son
Deliver Us from Evil Teenage Mutant Ninja Turtles
Devil’s Due The Amazing Spider-Man 2
Divergent The Anomaly
Dracula Untold The Giver
Earth to Echo The Hobbit: The Battle of the Five Armies
Edge of Tomorrow The Hunger Games: Mockingjay – Part 1
Exodus: Gods and Kings The Legend of Hercules
Godzilla The Maze Runner
Guardians of the Galaxy The One I Love
Hercules The Purge: Anarchy
I Origins The Pyramid
I, Frankenstein The Quiet Ones
Interstellar The Signal
Into the Woods Transcendence
Jessabelle Transformers: Age of Extinction
Left Behind Vampire Academy
Lucy Winter’s Tale
Maleficent X-Men: Days of Future Past
Night at the Museum: Secret of the Tomb Young Ones
Noah Ouija

 

 

Animated

Big Hero 6 Rio 2
Case Closed: Dimensional Sniper The Book of Life
Giovanni’s Island The Boxtrolls
How to Train Your Dragon 2 The Idolmaster Movie
Mr. Peabody & Sherman The Lego Movie
My Little Pony: Equestria Girls The Nut Job
Penguins of Madagascar The Tale of the Princess Kaguya
Planes: Fire & Rescue When Marnie Was There
PokĂ©mon the Movie: Diancie and the Cocoon of Destruction  

 

 

 

Feb 082015
  February 8, 2015

I had another night of tears and pain in place of sleep which suggested it was time to write a bit on grieving and how to react to it. I’m becoming something of an expert. There are, no doubt, many experts out there, far too many. But for the most part, I’m not running into them. Count yourself lucky. You do not want to be an expert.

Most people I interact with do not know how to deal with me, how to speak to me. They (or is it “you”; English pronouns are tricky things) lack empathy for me. Again, that’s lucky. No one should ever want to empathize with me, but, I’ll give them (you?) a few pointers that you may be able to apply to how you react to others who are grieving as well.

I’m not writing this for other experts. If you’ve lost a mate (or a child, which is something I know nothing about), ignore all this. You don’t need me giving you pointers. Though, interestingly, I have found a distinct difference between the genders. Grieving women have dealt with me little better then everyone else. They’ve talked about time and recovery, both concepts that are foreign and unwelcome. Grieving men have spoken about pain that never improves and life that never gets better. The men understand me. Unless you are a grieving woman who feels all is lost, don’t try to correct me—it doesn’t help.

So, to those pointers:

 

DON’T ASK ME HOW I FEEL.

You don’t want to know how I feel. That question creates an awkward moment with no good answer. But here, just once, I’ll answer it because it may help you understand the things I do.

My life is 95% sorrow and 5% anger. That’s it. Those are my emotions. I may smile. I may chit-chat, but that’s what’s under it. I feel no joy. There are no good moments. There are less mournful and more mournful. More mournful is bad. Letting it out, expressing it, “letting myself feel it” is bad. Anger is worse because it always comes with more sorrow. You will not make me feel good.

A friend asked me if I wanted to live and was shocked to hear I did not. Emptiness, pain, rage. Why would I want to live? (And for all that is holy, do not try and answer that. Huge pointer there.) I have to live because I am keeper of my wife’s legacy. I envy those grieving who do not have such responsibilities. There is nothing I want to do. There are things I need to do, so I do them, but I do not enjoy them.

On September 27th, standing over my wife’s body, I knew if I was a god, I would have burned this world. I’ve said since that now I wouldn’t, but that I look fondly on the image of the world being destroyed that day. I don’t know if that is true. I have a feeling I’d destroy it now as well.

I get by focusing on work that needs to be done—work related to her, and by distractions. Distractions are hard to come by, since reminders are everywhere, but sometimes I can find them in a movie or a trivia game. Take away the distractions and more importantly, the work I focus on, and I’d be a puddle on the floor.

That’s how I feel.

 

DON’T COMPARE YOURSELF TO ME BECAUSE I AM COMPARING MYSELF TO YOU.

All grieving is different, or so say all the psychiatrists and councilors. But they all agree to one universal: Never say “I know how you feel.” In simplest terms, it’s because you don’t. After all, if you did, you’d never have said that. Along with that go all the after-clauses that explain how it is you know how I feel and that often flow in on their own—the comparisons. You know how I feel because of the tragedies of your own life. You know because your cousin died, because a friend died, because your mother died. You know because your husband left you for another woman, because you fell into despair when you lost your job.

You don’t know. And your pain is not my pain. See, here’s the thing, chances are, I do know your pain. And if I don’t, don’t correct me—it doesn’t help. I listen to everyone complain. Facebook is a great place for that. I see all the agonies of your life and I’d trade with you. I’d trade with all of you at once. You take my tragedy, and I’ll take all of yours. You lost your job. You got beat up. You are sick. Your body aches. You are in constant pain. You feel oppressed. You feel threatened. You were threatened. You are treated unfairly. You were mugged. You lost all your money. You crashed your car. You are dying. It all feels trivial to me. I’d love to be sick, oppressed, threatened, and dying. Give me those, and all the rest, and give her back to me.

As I said, 95% sorrow and 5% anger.

 

DON’T ASK IF THERE IS ANYTHING YOU CAN DO TO HELP.

This is another one that most of the experts agree on (Google it). It assumes I know what I need, and that I can think of it now, and that I have a clue on how to get to next week. I don’t. I do need your help. I need a lot of help. But I don’t know for what, and I’m not comfortable asking. It’s much better to offer something specific. Then I might just be able to figure if that is something I need. It also means it is actually something you’re willing to help with.

 

DON’T TELL ME I SHOULD FEEL LIKE X OR DO X, BECAUSE SHE WOULD HAVE WANTED THAT.

I suppose the person who says some variant of that is trying to be helpful, though it sounds like a lecture from a stereotypical 1930s schoolmarm. It isn’t going to make me less sad to be told that my wife wouldn’t want me to be sad. I well know she wouldn’t want me to be sad. As for the version “You need to pull yourself together and go on; that’s what she would have wanted,” which I have been told, that one’s just wrong. It assumes what she would have wanted, and I know that far better than anyone else. What she always wanted—what I wanted—was for us to die together.

 

DON’T TELL ME SHE’S IN A BETTER PLACE, IT’S PART OF A PLAN, ETC.

Just
don’t. Ever.

 

DON’T TELL ME IT WILL GET BETTER IN TIME.

Maybe it will. I don’t think so, but maybe. Women who’ve suffered a loss tend to back up that time makes a difference. Men seem to say the opposite: that it never gets better. I really don’t want to hear your take on it. To me, it’s insulting. “Sure, she was your life, a wonderful, remarkable girl, but hey, a few months and you’ll barely remember her.” Time should make no difference. It may, but it shouldn’t. Will it? Better to let time answer that, and not you.

 

DON’T EXPECT ME TO GET OVER IT.

The old rule was two years for mourning. And women got veils. Veils would be brilliant. Don’t know how to work that on a guy, but worth a shot. Now-a-days, people seem to expect things back to normal in a matter of weeks. I’m supposed to be fine and able to deal with the world. I’m not fine. And two years is a nice start, but I tend to think forever is a better time frame. I’d like people to speak to me normally, about what they are doing or that movie they liked or their vacation. Those are good distracting subjects. But I’m not normal. I may not be able to do normal things. Her death might be a thing that happened in the past for you, but it is always with me.

Without the work I do to focus on, I couldn’t get through a day. That was the subject of my last Men’s Support Group. Everyone there was surviving purely by finding things to focus on just to make it through that day. And for some, it has been years.

 

DON’T TAKE IT PERSONALLY.

I’m broken. That’s what this does. And you can’t fix me. You can’t make me happy. Don’t get upset that seeing you doesn’t make me feel better. Don’t be upset if I can’t do something, if I can’t be there, if I can’t find hope with you. Help me, if you wish, to what extent you wish, but do not become ticked off if I cannot be what I was, or if your presence cannot bring back better times.

 

DO TALK ABOUT HER.

Not about her being in a better place or her dying or what she’d want, but about her. What you did with her. That funny time she got cake in her hair or that horrible time she was on stage and couldn’t speak. What story of hers you liked best, what you were doing when you heard that podcast of “Trixie.” I like to hear about her.

Everyone grieves differently, supposedly. These are does and don’t for dealing with me, but they are a good jumping off point for dealing with anyone in similar circumstances. Adjust accordingly, or as best you can. There’s more to say. There’s always more, but I’ve used up my resources for the day. Time to focus on work, and try and get through this day.

Feb 072015
 
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Matt Murdock (Charlie Cox) is a blind lawyer by day and an enhanced vigilante by night. In his law practice, formed with his college friend “Froggy” (Elden Henson) and aided by recent client Karen Page (Deborah Ann Woll), he defends the poor. As “The Devil of Hell’s Kitchen” he attempts to take down the mobs, searching for the kingpin of crime, Wilson Fisk (Vincent D’Onofrio). Fisk, a violent and driven man, plans to remake the city into something beautiful. His life is altered when he unexpectedly finds himself in love with art-dealer Vanessa (Ayelet Zurer).

Daredevil: Season One is the highpoint of the MCU on Netflix. It is written better, with wittier dialog, and shot better than the rest. It is serious, but not too serious. The fights are brutal but they are secondary. Much more time is spent on getting to know Matt Murdock and his pals than anything else.

It has the same flaws as the others, but to a lesser extent. I’d like to edit it down, and remove the most ridiculous decisions (You mean the guy that kills people who cross him might try to kill you if you cross him? Shocking). And there’s too many speeches and lots of repetition on the nature of a hero and vigilantism.

Matt Murdock is a middle of the road character, neither interesting nor annoying. And Froggy, the sidekick, is just that, a sidekick who fills up time. Then there is Karen Page, who’s like something out of the 1950s. She never thinks; she simply emotes. In this (and the second season) she just jumps in, crying about truth and how sad things are with no regard to how anything works and we are supposed to ride along. Bringing up THE TRUTH in a court case is not important if it is clearly inadmissible or irrelevant. She’s a bad trope from an earlier time.

What the season has is a great villain in Wilson Fisk, and most reviews fawn on him. People mistakenly think it is Fisk alone, the performance by Vincent D’Onofrio and his being a villain who is fighting for what he thinks is good. But it is the relationship between him and Vanessa that makes the show work. When Fisk kills the Russian boss, it isn’t for some empty scheme or due to daddy issues (see Luke Cage). It is because the Russian damaged his relationship—because Fisk was embarrassed in front of Venessa. That made it emotional. That gave it resonance. I believe everything Fisk does connected to her. And I believe her. They are the heart of the show. At times I wanted him to win. I understood him. I almost liked him, but I really liked them together. D’Onofrio may have been excellent, but Zurer is more. Hers is the finest performance in any of the series.

To add to a great villainous couple, we have a great henchmen in loyal James Wesley (Toby Leonard Moore). I could have watched thirteen episodes of the adventures of Fisk, Vanessa, and Wesley.