TCM ran a couple of the Leonard Bernstein Young People’s Concerts last night. In one, he discussed the different modes. When he got to the Lydian mode, he mentioned that it was frequently used in Polish music. I flashed on the Groucho Marx classic, “Lydia, the Tattooed Lady,” which contains the lyric, “For two bits she will do a mazurka in jazz.” The mazurka is a Polish dance. Was this a very sly, esoteric musical pun on the Lydian mode by Arlen and Harburg?
I enjoy fantasy and science fiction shows when they’re done well. Major “Buffy” fan back in the day, and number “iZombie” and “The Magicians” among my current shows. I’ve also kept up with my Marvel Universe movies, although I am cutting their network offerings down to “Jessica Jones” because the writing and plotting of the others, both on Netflix and ABC is subpar. [The only reason “Iron Fist” is called that is because “Dumb As A Sack Of Hammers” isn’t catchy enough.]
However, there is a long-term plotting trope common to these shows and movies that continues to bug me, because it is essentially unacknowledged. A character, usually taken over by a curse, will go on a killing binge as one does, but when said curse is lifted, will be taken back into the loving arms of his/her previous community, with relatively little censure. Even more, will team up with the heroes without any real consequence as to their previous actions.
There are several characters in the Buffy universe who follow this pattern, but the most egregious example is Faith, her fellow-slayer, who became a murderer for hire without any supernatural excuse. She did go to prison after a remorseful arc in “Angel,” but came back for the Buffy final season and went on essentially unchallenged. [I haven’t read the story-lines past the third comic book, so there may have been more. She seems to be in the wild.]
Blaine, the principal villain of iZombie, has a massive body count to his credit, yet has not met his come-uppance despite multiple opportunities, legal and otherwise. Clearly a Spike-derivative down to his bleached blonde punkish persona, he’s a walking plothole in an otherwise beautifully plotted series.
Julia of “The Magicians,” is a fascinating character. At one point, she goes sociopathic, having lost her “shade,” which seems to be a soul-equivalent. During this period, she at one point obliterates an entire population of sentient trees [long story]. But when she gets her shade back, she’s back on the team, no further consequences.
In the Marvel Universe, Gamora, the fighting blue sister in “Guardians of the Galaxy,” assists in a few mass murder events in the first movie, yet rallies to help her fighting green sister in the sequel and is allowed to run off scott-free. Loki kills a ton of people [oh, he’s so mischievous!], yet teams up with Thor many times — and he’s charming. We’ll see how they do in the upcoming Infinity Wars. My bet — she dies, he doesn’t.
And, speaking of Marvel, how about the Hulk in “Thor: Ragnarok.” He’s the champion fighter in the Grandmaster’s tournaments. Which means a history of opponents going splat permanently. But he’s lovable, so he gets a pass.
This is all fantasy, yet several of these shows aspire to bring in real emotion to drive the drama. You can’t have it both ways. It inures the characters to violent death, and by doing so, us. Only “Buffy” attempted to deal with the consequences, particularly with Willow, but redemption was generally only a few episodes away [and was rewarded with hot sex].
I realize that I am asking too much out of what is meant to be entertainment. But it’s one thing for a character to commit murder, or mass murder, as part of his/her story. It’s another for everyone else to ignore it — or worse, go “That’s cool. What can you do for me now?”
And don’t get me started on Darth Vader.
In the first year of the Lehman Engel Musical Theater Workshop, they rotate the lyricists with the composers for each project. The final project is a ten minute musical. Having gotten in with no real musical theater experience, I was panicky and insecure about having enough time to write one in three weeks. My solution was to start writing it long before I knew who I would be paired up with, which was grossly unfair to my unknown composer.
Nevertheless, I forged ahead, picking a classic macabre murder story to musicalize, because I thought it would be perverse fun. Fortunately, I was paired with a young composer named Matt Frey, who not only accepted what I had done, but ran with it with his own musical craziness.
The middle section was an extended scene for the three crime scene officers. Matt’s music caught the insanity of my lyrics, switching meters practically every measure: 5/8, 6/8, 7/8, 6/8.
While this was happening, my day job as a public defender took me into a real murder case. It was one involving a great deal of forensics, including one area that was new to me — blood splatter analysis. This was before the Dexter books and series made it cool. I was working with a mentor, Tom Klein, who was the Roving Murder Guy at Legal Aid. He set up a meeting with the Crime Scene Analysts working at the Office of the Chief Medical Examiner.
I arrived early, and waited outside for Tom. Since I had some time to kill, I called Matt to talk over changes in the musical. About halfway through the conversation, it suddenly occurred to me that I was talking about a crime scene song in a murder musical while waiting to talk with crime scene analysts in an actual murder. Synchronicity.
And that was one of those moments when I realized that my life had gotten weird even for me.
The musical is getting its first performance since its debut [and closing] performance in the workshop. Come to the Cornelia Street Cafe on Monday, January 22nd. It can’t help but be better than when we put it on, because I won’t be singing this time.
First show: “Carousel,” the Lincoln Center revival with John Raitt, 1965. I was 5 or 6. Odd fact that stays with me — the Starkeeper was played by Edward Everett Horton, whose name I recognized as the narrator of “The Fractured Fairy Tales” from The Bullwinkle and Rocky show.
First off-Broadway show: “You’re a Good Man, Charlie Brown.” Also, my second show. Not the original cast. I still think it’s better than the revamped version, but nobody remembers the character of Patty [not Peppermint Patty] anymore.
First non-musical: “Le Bourgeois Gentilhomme,” by Molière, at the Comédie-Française. I was 13. My French wasn’t exactly fluent, but I enjoyed it.
First exposure to Shakespeare: The Mr. Magoo version of “A Midsummer Night’s Dream,” on television.
FIrst exposure to non-animated Shakespeare: The Olivier movie of “Hamlet.”
First exposure to live Shakespeare: The musical of “Two Gentlemen of Verona,” still one of my favorites.
First exposure to Shakespeare, live, no gimmicks already: “Richard II,” RSC, London. Boring for three hours, then a sword fight.
First time seeing a Broadway show without an adult taking me: “Candide,” 1973.
First time seeing a Broadway show with a date: “Candide,” 1973.
First show that I went back and saw again: “Candide,” 1973.
First show that made me want to write for the theater: “Travesties,” by Tom Stoppard. The third writer to blow up my adolescent mind, after Kafka and Pynchon. I wanted to write like Stoppard, to make the language dance and the concepts and moments shift on a dime. I needed to know everything he knew. He led me to Joyce and Wilde. I still don’t know everything he knows and never will. And yet, and yet, and yet …
First show that made me appreciate perfect lyrics: “A Little Night Music.” The way “Now,” “Later,” and “Soon” blend into the trio is the greatest achievement in musical theater.
First show that made me appreciate how a musical could express real life: “A Chorus Line.” When they announced the Broadway transfer, I caught the 77 bus into NYC and stood in line in the summer to buy six tickets for the December holidays. Front row center balcony, the perfect vantage point to see the kaleidoscopic patterns of Bennet’s choreography. I love Sondheim’s mastery of lyricism, but Kleban wrote how people I knew talked. The tickets, by the way, were eight dollars each.
First time seeing nudity onstage: “Equus.”
First show with college girlfriend: “Eubie.”
First time seeing two shows in one day [also with college girlfriend]: Spring break, 1979. “Sweeney Todd” and “Wings.”
First play I directed: “The Real Inspector Hound.” By Stoppard. At Swarthmore College.
First play I wrote: Yeah, not gonna talk about that. It was in high school. It was pretentious and terrible.
First time at the Delacorte Theater, Central Park: “The Pirates of Penzance,” 1980.
First show seen with my wife [aforementioned college girlfriend]: Memory fades, but research suggests it was “I’m Not Rappaport.” We got free tickets, thanks to my brother. He got them because the play was staged in a house designated for musicals, so they had to pay some musicians under the union rules of the time as what were referred to as “walkers.” My brother, a cellist, was one of them, I’m not sure how.
First show seen with my son: “The Lion King.” Also with my wife and parents. My brother was playing in the pit. For real, this time! And he got us house seats, which was sweet.
First time at the Delacorte Theater with my son: “Twelfth Night,” 2002. Terrible production.
First time seeing three shows in one day: “The Coast of Utopia,” by Tom Stoppard.
First musical written by me: “Lamb to the Slaughter,” with music by Matt Frey, based on the Roald Dahl story. Fourteen minutes long, performed in front of the BMI Lehman Engel Musical Theater Workshop, with Masi Asare, Lawrence Rush, David Sisco, and me performing. A blast.
First musical written by me which people paid to see in public: “Math Anxiety,” a ten minute musical written in 48 hours with composer Michael Hunsaker and staged a week later by the Raw Impressions Musical Theater in an evening of rapidly written shows. Performed by Karen Hyland, Dennis Holland, and Darryl Winslow; directed by Tesha Buss, musical direction by future crossword champ Dan Feyer. Six performances, and I was at five of them. A crazy, thrilling ride.
First fully-staged full-length musical written by me which people paid to see in public: “The Usual,” with music by the late Mark Sutton-Smith, produced at the Williamston Theatre in Michigan, with Joseph Zettelmaier, Emily Sutton-Smith, Leslie Hull, Brandon Piper and Carolyne Rex. Directed by Tony Caselli. I was up for the last two weeks of rehearsal into the premiere. People unrelated to me sat in the audience and laughed, gasped, and cheered at words that I wrote. One of the greatest experiences of my life.
First full-length musical written by me to make it to Broadway: Watch this space.
Now that the libretto for our musical “The Usual” has been published, I thought I’d tell you how it came to be. It happened because of the Raw Impressions Music Theatre. This was a wonderfully insane, low-budget project that would put together evenings of ten minute musicals written in 48 hours. Eight writers and eight composers who had never worked together before would show up on a Friday afternoon; ten performers would sing for a minute each; then eight musical-writing teams would form and be given the theme for that program. It was like, here’s your composer, these three performers will be yours, here’s your director, here’s your musical director, you have 48 hours, see you Sunday, GO!
One week later, they would put on a fully-staged, off-book evening of eight ten minute musicals. Our theme was “Love by Degrees.” “Math Anxiety,” with music by Michael Hunsaker, was my first publicly performed work. There were six performances, and I went to five of them and listened and watched as an audience of strangers laughed and cheered for our show. It was a blast.
I started thinking about what I would do if I could run one of these. I remembered seeing Paul Sills’ All-Star improv group when they came to NYC. [Can’t remember all of them, but Paul Dooley, Severn Darden, Gerrit Graham …] There was one format where they were given a first line and a last line, and had to improvise a scene that got from one to the other. [“Put down that chainsaw!” was the final one that night.] So, what if a group of random sentences were drawn from a hat and used to start musicals?
The phrase, “I knew you’d come back,” popped into my head. And within 90 seconds, I knew the characters, the entire plot, the songs, and that it had to be jazz-based. [Da DOO be do BOP!]
Well, fun idea, but I wasn’t in charge of anything. But I kept coming up with ideas for short musicals, and wondered what an evening of such would be like. Then I met the composer Mark Sutton-Smith. He had responded to a personal ad I had put up in a Yahoo newsgroup of musical theater writers [“Lonely lyricist seeks composer …”] We met by the Lincoln Center fountain [cue Gene Wilder screaming, “I’ll do it!” as the water erupts orgasmically.] At dinner, we each pitched an idea. Mine was for the program of one-act musicals; he then growled, “I want to write a show called, ‘Girl Detective.'” We ended up doing both.
The problem: We never quite finished the collection of one-acts, entitled, “This Happened To Someone I Know,” although writing it was a good learning process and way for us to get a sense of what each other could do. I wrote for an imaginary group of six performers I knew either through my BMI workshop or Raw Impressions: Jill Abramovitz, Karen Hyland, Kristin Maloney, Nick Cearley, Steve Routman, and my Raw Impressions collaborator, Michael Hunsaker. Of the one acts, only the one I initially thought of was completed: “Bad Reception,” which Kristin and Mike performed sensationally at the Emerging Artists Theater. [You can hear them singing “I Knew You’d Come Back” and “Enough” here. The latter is one of the most gorgeous melodies you’ll ever hear.] We got caught up in writing “Girl Detective,” but more importantly, the one-acts never quite connected with an overall theme. This particularly hit home when we put together a private reading, amazingly getting Kristin, Nick, Steve and Mike, two-thirds of the dream team, and added in Lauren Blackman and Russell Koplin in the other female roles. In the post-mortem, it was suggested that we’d be better off finding an overall through-line.
I thought about that, and actually came up with an idea for one — six characters, two side-by-side locations [a living room; a bar] — but the frustrations were creeping in, so we put the project aside.
In early autumn, 2010, Mark called me and said [this is verbatim], “Hey, my sister’s theater is looking for original musicals for two to three performers and one set. Let’s write one of those.” He proposed that we salvage what songs we could from the earlier project. I re-examined one of the one-acts, “Kaypro II,” in which a woman named Valerie rediscovers the clunky old computer from her teen years and plays a computer adventure game that she never finished. The demons she encounters in the game parallel the demons from her real life.
It seemed like a possible second act, albeit with much rewriting. I took my idea for the through-line and cut it in half. One set, a bar. A guy walks into the bar, starts talking to the bartender. Then Valerie enters. And stuff happens.
My wife, Judy and I, were taking an anniversary trip to Hawaii. I can never sleep on planes. I took a spiral notebook and started riffing an opening scene. It flowed [“like butter,” said Mark when he read it later].
We still needed songs. Lots of them, in fact, to fill up this full-length show. They started to come. Mark and I worked by sending things back and forth to each other. He described his composing process to me as “Walking around the house, muttering.” Three new songs happened. The Williamston Theatre liked the first draft. They even did the opening scene for a fund-raising gala. But there was much to be done. Eight more songs to go, and we wanted to put together a table read for August so that Tony Caselli, the director, could come to NYC and take a look at the completed show.
Then I stopped hearing from Mark. No e-mails with music attached, no calls, no picking up on his end. We had lined up three performers [Tara Novie and Gil Brady from “Girl Detective,” and Kristin Maloney, who had inspired the original Valerie]. I was getting increasingly frantic, wondering what was going on.
Then things got worse. Much worse.
It turned out that Mark had been diagnosed with lymphoma. He finally called me and filled me in. I was stunned, needless to say. Horrified for him, and wondering if we’d be able to finish what we started.
We postponed the reading. On the other end of the life event scale, Kristin had become pregnant, and the new date was past her due date. She recommended a woman she had recently worked with who she said could do everything she could do even better, and that’s how I first met Jillian Louis.
Mark started chemo, which laid him out. We went ahead with the reading, which was encouraging and pointed out what needed to be rewritten. Then I received the first piece of music from Mark. Then another. Then another.
He ended up writing eight new songs in between bouts of chemo. They were wonderful. It was one of the most incredible things I had ever seen. To create while that ill takes courage beyond anything I’ve ever had. We completed the show in time to get it to Williamston.
The Williamston Theatre is a small theater, with 99 seats surrounding a small square stage on three sides. It was founded by four people, including Tony Caselli, our director, and Emily Sutton-Smith, Mark’s sister and our leading lady. The theater is an Equity house that also draws on the nearby Michigan State theater students. Our leading man, Kip, was played by Joseph Zettelmaier, an award-winning playwright long associated with the theater. Sam, the bartender, was played by Emily Hull, a graduate student at the time. Tony also had the clever idea of incorporating the two student assistant stage managers, Brandon Piper and Carolyne Rex, as an onstage chorus when they weren’t changing scenery or operating demons. [When Mark heard about that, he said, “Five voices are going to sound like the Mormon Tabernacle Choir in that space.”] The set, costumes, lighting and props were all beautifully done, and the musical director improvised cocktail piano for the underscoring that Mark couldn’t complete.
I was up for the last two weeks of rehearsal, rewriting in my hotel room by day. The layout of that room had the television mounted over the desk. The bottom of framework had padding on it. I remember thinking, “What kind of idiot is going to hit his head standing up from the desk?” The answer was me. Twice.
We had our first preview. The laughs were huge. So was the gasp of shock and dismay at the last twist of the final scene. [Joe came running up to me after, crowing, “Did you hear that?”]
And Mark made it to the premiere to hear his little sister sing his music for the first, and only, time in his life.
We got great reviews from the Michigan media, nominations for different awards. It was a blast, one of the great experiences of my life.
And the performance after the premiere would be the last time that I would see Mark in person.
He lived another year, composing to the end. We spoke on the phone. He gave me his blessing when the possibility arose for me to work with someone else, which we understood would be until he was well enough to work again on another musical. About a year after the premiere, we lost him.
A month or so after that, I received a call informing me that I had won the Kleban Prize for Most Promising Librettist for this little show. The ceremony was at the ASCAP building, and Mark’s music was played by Joy Son, my new collaborator, on Harold Arlen’s Steinway grand. She told me that she had never practiced so hard.
Oh, the title. The working title had been “These Two Walked Into A Bar.” Sometime in the rehearsal process, Tony suggested, “The Usual.” And we said, “Yeah. That’s it.”
Those who know me know that Thomas Pynchon is my favorite author, bar none. He’s the guy I order in advance in hardcover, the one I keep when others get recycled. He’s the one I reread, hoping to catch more of what I missed, and God knows I miss a lot, because he is much smarter than me and one of the great historical researchers in American fiction.
He is also, famously, a recluse. The last picture of him dates from the 1950’s. He does live in New York City. Apparently, he married late in life and produced a son who is now in his twenties. A television news crew once stalked him and obtained footage, but he purportedly talked them out of showing it.
He also has appeared on television twice — but both were on “The Simpsons,” where even his cartoon image wore a paper bag over his head. He is rumored to have been an extra in the film adaptation of “Inherent Vice,” but I haven’t seen actual confirmation or identification of him. There’s a befuddled-looking guy in glasses who wanders by a window at one point, and there’s a scene full of people in hooded costumes. Both are plausible.
So, being the fan-boy that I am, I have fantasized about meeting him. I have also fantasized that he, needing a break from his exhaustive research, has read my mystery novels, which are by no means Pynchonesque but have involved a large amount of historical research.
My books involve the members of a fictional Fools’ Guild. In the first, Thirteenth Night, we meet the Guild right away, tucked away in the foothills of the Dolomite Mountains.
Imagine my shock and delight, then, when Against The Day came out, and I ran into this passage on page 724: “When Foley Walker returned from Göttingen, he and Scarsdale Vibe met at an outdoor restaurant in the foothills of the Dolomites …“
Complete coincidence, right? Right? Couldn’t have anything to do with me, right? Right? Except, I wouldn’t be a proper Pynchon paranoid if I couldn’t overanalyze this passage. There’s an entire Wiki devoted to this book, but it doesn’t say anything more than that the Dolomites are mountains in Italy. But what are they? How did they become the Dolomites?
It turns out that they were named for an 18th Century French geologist named Déodat Gratet de Dolomieu. He discovered a mineral which was named dolomite in his honor, as were the mountains where I suppose he discovered it.
Dolomite, the mineral, had the quality of being able to double-refract light when it is shone through it. Astute readers of Against the Day will note that it shares this quality with Icelandic spar, which is one of the obsessions of the characters in the book.
So what. Big deal. [Quote from “Buckaroo Banzai,” another Pynchon tribute movie.] Well, here goes the real craziness.
First: I erred in using the name Dolomite. My book was set in the 13th Century, and the range wasn’t named for Dolomieu until the 19th Century. I hadn’t bothered fact-checking this because WHO THE FUCK RENAMES AN ENTIRE MOUNTAIN RANGE? [Answer: The Italians, obviously. And after a French guy. Jeez.] So, in Gravity’s Rainbow, Pynchon was caught out by obsessive fans referring to the movie “The Return of Jack Slade,” which didn’t come out until after the events of the book took place. In an annoying response, he annotated every pop reference in his next book, Vineland, with the year it came out. So, perhaps his reference to the foothills of the Dolomites was not merely a reference to the location of my Fool’s Guildhall, but an expression of solidarity with historical research that can fall short. Right? Right?
But, if you think that I’m relying on that for my connection, you are mistaken. I mean, I am, but it’s not my major selling point. Take a deep breath, fasten your safety harness, pop a Dramamine — here we go.
It turns out that the mineral dolomite, while possessing double refracting properties, is an inferior lens for that purpose when compared to Icelandic spar. One might argue that dolomite is to Icelandic spar as pyrite is to gold. And pyrite, of course, is also known as Fool’s Gold. One might argue that dolomite could also be called Fool’s Spar.
At least, if one were me. And one is.
I have never written Mr. Pynchon about this, because that would be an insane thing to do. So instead, I have put it out here in a blog, because nothing in a blog ever appears insane.
I’ve been working on a collection of non-genre short stories lately, so I’ve been submitting them to a different breed of magazine than I have in the past. Rejection is no longer a matter of “slips” nowadays. Has someone coined “e-slip” yet to cover these?
In any case, it’s all part of the Great Game, and I am philosophical rather than discouraged by rejection at this point in my life. I look back at my first science fiction sale for a perfect example of the random aspect of this enterprise. I had sent the story to Analog, one of the two biggies in the science fiction world. It was in due course rejected by them. Analog was considered the more hard-core science fictional of the two, and this story was more allegorical than high-tech. So I pulled out a new pair of 9×12 manila envelopes, because the second one was an SASE, of course, and sent it off to Asimov’s Science Fiction, which was known for having a broader range of stories. To my delight, it was accepted.
And then came the wonderful thing: The story won the magazine’s annual Readers’ Poll Award for Best Short Story. I was ecstatic, and not just because of the $250 cash prize, but because of the recognition this early in my career.
The ceremony was on a top floor of the Bertelsman Building, the company that owned the publisher of the magazine at the time. They also owned Analog, and the same reception honored the recipient of that magazine’s Readers’ Poll Award. While we were mingling, I was introduced to the writer of the Analog winning story. He pulled me aside.
“Just between you and me,” he said. “Did you by any chance submit your story to Analog?”
“As a matter of fact, I did,” I replied. “They rejected it.”
He gave me a huge grin.
“Asimov rejected mine,” he said.
by Alan Gordon
I. [Swing tempo]
WHEN A MASSIVE BLACK HOLE
LIKES ANOTHER BLACK HOLE
VERY, VERY MUCH,
THEY CIRCLE FOR EONS, THEN THEY TOUCH.
AND WHEN THOSE HOLES ARE DONE,
THEN THE TWO BECOME ONE,
AND FROM THIS COSMIC EMBRACE
COMES A RIPPLE THROUGH THE FABRIC OF SPACE.
WE DON’T KNOW IF THEY DERIVE PLEASURE,
‘CAUSE BLACK HOLES WON’T GIVE OFF ONE GLEAM.
BUT THE RIPPLE IS SOMETHING WE CAN MEASURE,
AND THAT’S SOME PLEASURE THAT WILL MAKE A LASER BEAM.
GIN A BODY MEET A BODY
COMIN’ THROUGH THE SKY,
AND THEY HAVE WHAT EACH OTHER CRAVES,
LET’S MAKE SOME WAVES!
I DON’T WANNA SEEM CRASS,
BUT YOUR BODY HAS MASS,
SO IT NATURALLY ATTRACTS.
I CAN’T HELP IT IF MINE REACTS.
AND IF THE SHORTEST LINE
BETWEEN YOUR BODY AND MINE
COMES ACROSS AS SLIGHTLY CURVED,
THAT LINE’S FINE, SAYS EINSTEIN. DON’T BE UNNERVED.
THERE’S NO LIGHT FOR US TO KEEP OUR EYES ON.
BLACK HOLES WON’T EVEN LET OFF A SPARK.
IT’S TRAPPED BEYOND THE EVENT HORIZON,
BUT SOME THINGS ARE BETTER WHEN THEY’RE DONE IN THE DARK.
SO, COME HERE, YOU LOST SOUL,
‘CAUSE YOU KNOW I CAN’T CONTROL
HOW THE UNIVERSE BEHAVES.
THAT SPACE-WARPING GRAVITY.
LET’S MAKE SOME WAVES!
My brain will do weird things without me. This is MacBeth, roughly fitted to the opening number of “Hamilton.”
HOW COULD A SCOTSMAN, NOBLE, TALL IN THE SADDLE,
BORN IN BLOOD, BRED IN BATTLE,
WHO HAD REVELED IN THE RATTLE
OF THE DEAD AS THEY BLED,
LAUGHED AT FOES AS THEY FLED
FROM THIS HARBINGER OF SLAUGHTER,
BECOME THE BLOODY THANE OF CAWDOR.
SO THE KING FROM HIS THRONE
SAYS, ‘THIS GUY IS SO DEVOTED,
I SHOULD THROW HIM A BONE.
TELL THIS GUY HE’S BEEN PROMOTED.
HE’S GOT BALLS, HE’S GOT GAME.
HE’S DESERVING OF MUCH FAME,
AND ALL OF SCOTLAND SHOULD REVERE HIS NAME.
WHAT’S HIS NAME?’
MACBETH, LORD OF DUNSINANE.
I’M MACBETH, LORD OF DUNSINANE.
AND IF YOU THINK I’M JUST ANOTHER THANE,
JUST YOU WAIT, JUST YOU WAIT.
HERE’S MY WIFE, CALL HER LADY, SHE’S BEAUTIFUL, AMBITIOUS.
AND WHEN THE GOING’S TOUGH, THEN THIS COUPLE’S GETTING VICIOUS.
ENTER KING, MIND THE GATE, PLEASE IGNORE THE DRUNKEN PORTER.
AND WHO’DA THUNK THAT DUNCAN’S SOME DUMB PUNK THAT WE COULD SLAUGHTER?
SO THE KING HAS CHANGED HIS STATUS FROM TO BE INTO NOT BE.
AND IT LOOKS LIKE THESE TWO SCOTS WILL BE GETTING OFF SCOT-FREE.
AND WHAT WILL BE THE PENALTY FOR ACTING SO DISLOYAL?
LADIES AND GENTS, MEET MR. AND MRS. ROYAL!
I’M MACBETH, BUT YOU CAN CALL ME KING.
‘CAUSE THE WITCHES SAID I’LL GET THE BLING.
AND IF YOU THINK IT’S JUST A SCOTTISH FLING,
JUST YOU WAIT, JUST YOU WAIT.
VARIOUS CAST MEMBERS
ME, HE KILLED ME.
I’M HIS FRIEND, AND HE KILLED ME.
ME, HE KILLED ME,
I’M A KID, AND HE KILLED ME.
I’M HIS WIFE, KILLED MYSELF
WHEN MY SANITY HIT BOTTOM.
I’M MACDUFF, NO ONE KILLS ME.
I’M THE ONE WHO GOT HIM.
MACBETH, LORD OF DUNSINANE!
I have become very fond of “iZombie,” a show with writing that did not settle for the obvious with the premise[s]. Mystery Writer Brain is quite satisfied with the less than obvious solutions and occasionally very devious means of murder. The cast settled into their roles and hit their strides in about five episodes [compare “Buffy,” where they found their comfort level in Season 2], and the lead, played inevitably by a New Zealander playing an American better than most American actresses, rings changes on the personality shifts brought on by ingesting murder victims’ brains [yes] with subtle touches rather than over the top caricatures.
Except, except, except … I am perfectly happy to accept any fantasy/sci-fi/non-reality world as long as it follows its own internal rules. [See previous rant about Steven Moffat’s writing for “Doctor Who” in my FB note.] There is a character on “iZombie” who is assuming an alias while leading her double lives. I just picked up that her name in one life is Gilda, while in the other, Rita. Rita Hayworth played “Gilda,” of course.
While it is perfectly possible for a character named Gilda to adopt the Rita alias in tribute to her namesake, it also throws me out of the world. It’s the writer signalling the viewer that, “Hey, this is written! Here we are! Are we not clever? And how clever are you for noticing?”
This has popped up in a few other shows and/or movies that I’ve enjoyed. In “Angel,” the “Buffy” spin-off, John Rubinstein had a recurring role as the head of the demonic law firm [no redundancy joke here, please] Wolfram and Hart. In his last scene, immediately before his demise, he’s shouting, “I want my corner of the sky!” Being about two decades older than the target audience for the show, I spotted the reference to the song, “Corner of the Sky.” From the show, “Pippin.” Which I saw twice on Broadway. With John Rubinstein as … Pippin, singing that song.
It’s cute, it has nothing to do with the plot, and provides a self-congratulatory wink. Yes, there are people who like that kind of thing, but it takes you momentarily out of the world, and the gain, the smugness of feeling you’re on the inside with the writer, is outweighed by the annoyance of being distracted.
Last example: “Captain America: The Winter Soldier.” The Marvel movies are filled with Easter Eggs and shout-outs to the loyal fans, making them all part of the big, happy club. Nothing wrong with that. I am not geeky enough to know or spot all of them, but I have been going to and for the most part enjoying these interconnected movies. So, there’s a scene where Cap reconnects with Nick Fury, who has [spoiler alert, but you’ve seen this by now] faked his death. They meet by Fury’s grave. Carved on his tombstone, the Biblical quote beginning with “The path of the righteous man …” that was used by Jules in “Pulp Fiction.” Both Jules and Nick Fury were played by Samuel L. Jackson.
Again, cleverness rears its head. See? says the writers. We’re so cool that we can reference other movies while inside the movie! But it jolts you outside the zone they have [hopefully] put you in.
As always, I am guilty of that which I critique. In my book, “Jester Leaps In,” a character named Simon is later revealed to be a former member of the Knights Templar. “Simon’s a Templar?” exclaims another character. And those of us old enough to remember “The Saint” will no doubt see the halo appear over Roger Moore’s head.
Forgive me. I was young.