Wednesday, July 20, 2011

Louis C.K. and I love Ewan McGregor

So, as some of you may know, I have a gay crush on Ewan McGregor. I am not gay; I am not sexually attracted to men. Except for the fact that I would totally have hot gay sex with Ewan McGregor. When people learn this they think I am a bit odd. But I maintained that it is entirely reasonable, after watching Moulin Rouge, to want to fuck Ewan McGregor. For years I thought I was alone on this issue, until I stumbled upon this clip:



Louis C.K.? He gets it. Ewan McGregor is a beautiful man.

Daniel Radcliffe is quite awesome.



I was not aware of this, but apparently Daniel Radcliffe is an awesome, funny guy. He seems like he'd be fun to get a beer with.

Tuesday, July 19, 2011

Sunday, July 17, 2011

Cowboy Bebop - Session 6: Sympathy for the Devil

After running through a significant amount of important-but-not-understood plot detail last week, Sympathy for the Devil feels like a return to the show's entertaining-but-trivial style of episode: a bounty-focused story that goes light on expanding main characters in any way and, as a bonus, shares its title with a classic rock song. Although true that it does very little to build on anything obviously relevant to the series as a whole, there are a few tidbits worth noticing.

The first of these are in the opening scenes of Sympathy, during which Spike is apparently undergoing surgery to implant a mechanical eye. When or by what means he lost the eye being replaced aren't quite known, nor is there any hint as to why it matters that one of his eyes is a fake. As with the other seemingly trivial details collected from other episodes, however, it's generally wise to just remember that these things happened and wait for that knowledge to pay off.

So, following this eye surgery of presumed future import, we're introduced to a child prodigy harmonica player who is apparently mixed up in some criminal organization by way of his wheelchair-bound guardian. What follows is some remarkably Star Trek-y business, right down to a convenient piece of technology that allows Jet to essentially mind-meld with the recently deceased in order to gather information from him. What he discovers there leads to a plot involving a hyperspace gate accident and what Bones might have called a "Fountain of Youth Effect" that halts the decay of a living person over time and allows him to recover quickly from any injury.

The person affected by this strange condition uses his seemingly endless supply of available time to become one of the galaxy's biggest bastards. His invulnerabilities make him immune to the maturity that follows when we realize that, like everyone else, we aren't going to live forever and that we are vulnerable in ways we only gradually come to understand. Without that understanding, he turns aggressive and arrogant, even dismissive of other peoples lives, which is most obvious in that criminal organization of his and the ease with which he kills its members and anyone else in his way.

Back on the ship, Jet and Faye exchange barbs in a quiet battle of the sexes that dovetails with the issues of maturity going on elsewhere. When Faye can't understand why Spike would volunteer to fight a seemingly losing battle against the immortal, Jet responds that men live for duty, adding that women easily betray others. Taken in the context of an earlier scene in which Faye eats the last can of dog food while explaining to Ein that women are born great and are therefore entitled to such things, it would appear that the show is heading towards misogynistic territory.

But although Faye (and all women, by extension) may seem singled out in this episode as immature, we already know that Spike has trouble letting go of something in his past and Jet's comment about women and betrayal suggests that he has a similar problem. Add to that Spike's repeated phrase expressing his inability to understand difficult matters being translated "As if..." in a couple of places during this episode and we get a growing sense that all of these characters struggle with maturity in some way.

In fact, Faye is becoming one of the only people who ever seems to care about anyone else and who comes the closest to admitting it. In the previous episode, Faye may not have been as good a caretaker/singer as the woman in Spike's past, but she at least stayed beside him. In Sympathy, she tries to talk him out of going to what she believes to be his death and mutters that men are idiots after he insists. Not exactly gushing romance, but compared to Jet's most visible act of concern being his accidentally cutting the wrong branch on his bonsai tree in the last episode, hers is a relatively loud proclamation of some kind of care.

Yet despite her protest, Spike sets out to defeat the immortal which, fittingly, involves returning him to the normal flow of time by way of what is basically a magic bullet. As goofy as that may be, it does restore the age and, more importantly, understanding it brings that he had been able to delay indefinitely. As his body withers and dies, he asks Spike if he understands as well, to which Spike replies, "As if...".

While this story is, again, not exactly a key piece of the series entire, it is a great opportunity to lay down some concepts related to the flowing and halting of time and what it's like to become older. These ideas, much like the past/present comparisons that came at the end of the previous episode, will be given closer attention later in the series and, I would argue, will become central to what this show is about.

Saturday, July 16, 2011

rent[chat]limo.com

Rentcowlimo.com

This is, apparently, a thing.

Sunday, July 10, 2011

Cowboy Bebop - Session 5: Ballad of Fallen Angels

So, AV Club is doing Cowboy Bebop write-ups this summer, which is a project I've been tempted to try but failed to attempt on numerous occasions. They're already five episodes in at the moment (Ballad went up over there while I was still working on this one), which leaves 21 for me to take on before they get to them. Let's see how it goes...

Cowboy Bebop: Ballad of Fallen Angels

Much of the first four episodes of Cowboy Bebop have been spent establishing the series' tone, introducing new characters and -- more importantly -- getting them onto the ship. Now that most of the crew has been assembled, Ballad of Fallen Angels takes a break from adding to the roster and instead gives us a closer look Spike's past life beyond the series' opening scenes and the images from the end credits.

Of course, what that past life is, exactly, remains about as mysterious at the end of the episode as it was at the beginning. Or rather, the information we get is seemingly plentiful but most of it is never fully explained or given in proper context and so remains open to interpretation. Fitting for this episode, really, considering how the Bebop crew likewise keeps each other at arms length throughout. Characters walk away from conversations, end them in silence and generally avoid saying too much. As in the exchange between Spike and Jet regarding Spike's relationship to Mao and what happened to Jet's arm, they talk without revealing any details, even as they hint at their own histories and start prying into others'. At this point, it will be some time before we get more out of these characters than they get out of one another

With tensions and standoffish-ness at peak levels back on the ship, both Spike and Faye go after the same bounty without making any attempt to cooperate while Jet stays behind, expressly unwilling to lend a hand. This leaves Spike and Faye free to use their own solo methods to collect on the bounty, which, for Faye, means charm and her feminine wiles. I call this out specifically because of how amusingly useless her charm/wiles combination tends to be throughout much of the series. Considering her wardrobe, posturing, and endless confidence that she can use them to get whatever she wants, it would be an unfair advantage for this tactic to work as well as she seems to think it should in Ballad.

Everyone on the Bebop is skilled or gifted in some way, but their victories are rare and often Pyrrhic through some combination of bad luck, rash action, and underestimation of an opponent. Making an actual maverick out of any one of these potential maverick characters would disrupt this slightly out of tune series. So, Faye may be able to fool a regular schmo into letting her enter the opera house without a ticket but as soon as she is dealing with professionals, she is quickly identified as a bounty hunter and captured.

Understandable, given that the professionals are led by Vicious, Spike's apparent partner in the old syndicate days who is presented here as a force bearing malice, ambition, and a nice sword. He counterbalance's Spike's geniality, aloofness, and nice gun so completely that it they have no choice but to fight in as John Woo a manner as possible in an old chapel. The culmination of this fight provides the opportunity for Spike to flash back to the same images of his past that we have seen already, with some new ones added that, although appreciated, still don't do much to bring us closer to full understanding.

We do get to see the woman that Spike still thinks about and who has some connection to these momentary glimpses of his old life. The episode ends with a nice juxtaposition between her singing while Spike is recovering from considerable injury years ago and Faye doing the same while he heals from his recent encounter with Vicious. Much more will be made of past/present as the series progresses, built on a foundation of these sorts of moments where the present is a dull reflection of the past.

Saturday, July 9, 2011

F*cking up totally all the [chat]

When shilling for the final installment of the most successful film franchise, ever, it’s important to grossly overstate one’s personal pitfalls along the way.

Daniel Radcliffe’s revelation that he drank for a few years is kind of like that part of the VH1 Behind the Music on Green Day, when Billie says that one time he went into a restroom at a club, and on a wall was written “Billie Joe must die.”

I mean, I realize that one needs to explore the darker side of fame, because that sells, but...come the fuck on...Graffiti and Corona do not a tragedy make.