All the "Body Heat" Has Cooled

I was going to make a post about how hot it's been in Southern California the last few days, but it got not only cold but gloomy out here in the last day or so. I think there might even be a chance of rain. I was going to use the weather, the record-breaking weather, to put up some screencaps of a film that uses uncommonly (or too commonly) warm temperatures as a backdrop, but now it seems sort of inappropriate. I thought "Do the Right Thing" but that doesn't take place in California - and our brand of heat is different from theirs (or theirs is, ahem, more violent than ours, figuratively and literally). And it seemed too easy. Then I thought "In the Heat of the Night," but I haven't seen it yet (for shame, I know). "Cool Hand Luke" would be a nice one and it came to mind as well, but its themes of comaradery against The Man ("What we have here is a failure to communicate...") might not fit the sense of urgency for political unity that's permeated every conversation and media story of late. (I also want to do a post all about Paul Newman since I'm about to make some purchases of his films, and I don't want it to be overkill.) Me thinking about this for too long coupled with my busy schedule (senior thesis, presentations, etc.) which led to the heat passing on by, and I started to think my opportunity for minimal cleverness (current events + movie with similar themes/motifs = clever!) was gone. But, then again, the heat will return... so I suppose this post can be in anticipation of the heat's rearrival. Thus: Lawrence Kasdan's directorial debut and Kathleen Turner's debut in Hollywood, aptly titled "Body Heat."

I know this movie takes place in Florida, but the landscape and climate's similar to ours in California, and who doesn't love a nice neo-noir every once in awhile? It's also got Ms. Turner looking mighty fine (she's still worth somewhat of a look, I guess, but that sultry voice has certainly gotten its wear and tear and is sounding a bit unappetizing, see "Marley & Me" for an example of that) not to mention a wonderfully strange supporting performance by Ted Danson, and Mickey Rourke pre-boxing/surgery/breakdown as an arsonist. And William Hurt is great, actually very sexy and every bit an equal to Kathleen Turner's smoldering juiciness. (Ummm... NSFW, but that's a given.)

It's sort of disappointing how the presence and motif of heat isn't so apparent in these stills while being readily so in motion, but that must've been intended on Kasdan's part. Don't want it to be obvious and tiring before the end, right? The film, I think, is an adequate reappropriation of the plot founded in Billy Wilder's "Double Indemnity" but I would really recommend seeing the former before seeing this one -- accentuates the effect the unbearable Florida weather has on both the aesthetics (as a color film, versus "Indemnity" which is in black and white) and the flow of the plot. Heat makes people do crazy things, throw a beautiful woman in the mix and you're bound for disaster.

What's your favorite movie set against hot weather?

IMAGES from: Digital Dingus
[PS: I'll be disappearing for another week or so because of school-related business, but will be back thereafter. Lots to cover, so I better be back soon, I want to chronicle and comment on some of these things. Wish me luck!]



Lars von Trier is such a fascinating and unique director who can really fashion some gorgeous films. (Check them out on Criterion - breathtaking!) He's also proven himself to be quite a capable and brainy logician (magician?) in film, picking apart conventions and toying with both the obvious and latent elements of the cinema to produce complex emotional, political and philosophical experiences (reason enough for a few to hate his work, but I find it intriguing and undeniably artistic). His works associated with the Dogme 95 avant-garde process/movement (though only one is actually part) are tougher to swallow because their confrontation or total disuse of traditional effects of film, like props or artificial lighting or even a score/soundtrack, can be sort of distracting, but I believe von Trier when he says that it's all in the service of the story and performances. If I'm getting frustrated with "Dancer in the Dark"'s insistence on only using incidental music, even for the musical numbers, then I can only imagine how frustrated Bjork must've gotten as actor and composer. But, I confess, all of the story, Bjork's work in the film (which was recognized as the best at Cannes that year; see my earlier post about characters) and the soundtrack were haunting and unforgettable.

Speaking of haunting, von Trier is set and ready to release his next exercise in toying with us and our expectations with "Anti-Christ" which has a feel like "Rosemary's Baby" but in the woods; complete with hallucinatory, satanic images of the body and things associated with children, and craven wolves. It all looks intoxicating, but unsettling, with the classic metaphor of child as bringer of doom or spiritual decay taken (wee wee wee) all the way home. Of course, it's even freakier because the child in question has passed away - nothing spoiled, no worries - and the descent is all based on the intent for emotional and spiritual healing for the couple. Willem Dafoe and Charlotte Gainsbourg are two able and evocative actors and perfect to embody these perhaps Catholic themes and motifs. Trailer below with the premise to follow. Maybe this'll be the first part in a new trilogy for von Trier?

Premise, via Slashfilm: "a horrific drama that tells the story of a grieving couple who retreat to a cabin in the woods, hoping to repair their broken hearts and troubled marriage..." [SPOILERS BEGIN] ...only to find that the cabin is the home of the Devil himself and the place he resides while running the world. [SPOILERS END] Does it strike anyone else as weird that the title card has the symbol for females and, I'm guessing, the child in the film was probably a male? Does this suggest what will be occurring in the woods, or is this a mistake on the part of the studio?

Is this deliciously disturbing to your eyes? Or just disturbing?

TRAILER exclusive through: Ain't It Cool


This is "Moon"

When done right, there's nothing that gets my heart racing better than a good science-fiction movie. They're such versatile creatures, the sci-fi flicks, with their capacity to meditate very powerfully the human condition, to discuss politics (though not my favorite use of the genre and stock imagery, though it has its heroes), to discuss science and religion, the science of life and death, the struggle for solace, personal/societal collapse and enlightenment. What's most fun and satisfying for me is when a movie achieves a heightened level of intrigue with a great throughline, but quickly jettisons all standard logic and leaves you with pieces to graft together. There's almost no incorrect way to do so (except when there is), and I love the conversations that ensue after the credits roll. Science fiction is a more visual genre than others, and I think it's most effective when there aren't a million things flying about at once.

Duncan Jones' "Moon" usurps those nice conceptions we have of Mother/HAL-3000-type computers (this one astoundingly well-voiced by Kevin Spacey), mashes them with the conceit 'space-as-final-frontier' and simultaneously as literal landscape of the mind a la "Solaris," and with a touch of the same human desperation that pervaded "Sunshine" and its predecessors. It stars Sam Rockwell as Sam Bell, who composes a one-man team to mine Helium-3 from the moon for a contracted three years, with the aid of said computer. Bell comes upon the scene of some freak accident only three weeks before his contract expires, and everything starts to unravel. It was filmed on a small budget, so it's amazing that the film can look and sound so beautiful and creepy. As I've said on Twitter, I think this film is a perfect vehicle for Rockwell to show off his unique talents as a wordy, neurotic performer with a knack for the oddball and slightly threatening - emotes the internal drama one would expect of a person alone in space. The image at right is the poster, which also communicates an odd, not-of-this-time sort of feel.

Early reviews out of Sundance and SWSW come from James Rocchi and Peter Sciretta. A better synopsis comes from IGN, linked below, that I didn't want to copy here because I think theirs indulges too many details. But a gorgeous trailer from them is below. The title cards and review snippets are really effective. As is Clint Mansell's score.

Will you be flying to this "Moon"?

IMAGE from: Film School Rejects
POSTER from: Ain't It Cool
TRAILER exclusive through: IGN Filmforce

TRAILER #2: "Public Enemies"

This team-up of Christian Bale, Johnny Depp and Michael Mann has been really growing on me since last month. As I mentioned in a past post, I was a little underwhelmed with the last (first) trailer for "Public Enemies" and its rather straightforward setup of the film that made it look less like a Michael Mann gritty crime drama (whose films are as much dramatic explorations of crime as much as they are suspenseful thrillers) and more like a standard studio production with clean lines and obvious bad guys. Too much of the expected (badboy lines about liking cars, money and baseball all set to a flickering montage, no less) and not enough of Mann's kinetic, pulpy style and earthy characterizations. And it almost made Mann's typical compositions of over-the-shoulder angles and medium shots look like they were taken from an old video, they were cut up so strangely. This new trailer is much better, the shots are allowed to breathe and speak for themselves (fades instead of clunky cuts), the music follows the pace and the natural tension of Depp's and Bale's antagonism is more fully placed on display. I love the beginning of the trailer with the creeping strings, and I love how Mann seems to fill every large, otherwise expansive space with people set and ready to clash.

The official premise, via Slashfilm: In the action-thriller Public Enemies, acclaimed filmmaker Michael Mann directs Johnny Depp, Christian Bale and Academy Award-winner Marion Cotillard in the story of legendary Depression-era outlaw John Dillinger (Depp)—the charismatic bank robber whose lightning raids made him the number one target of J. Edgar Hoover’s fledgling FBI and its top agent, Melvin Purvis (Bale), and a folk hero to much of the downtrodden public.No one could stop Dillinger and his gang. No jail could hold him. His charm and audacious jailbreaks endeared him to almost everyone—from his girlfriend Billie Frechette (Cotillard) to an American public who had no sympathy for the banks that had plunged the country into the Depression.

But while the adventures of Dillinger’s gang—later including the sociopathic Baby Face Nelson (Stephen Graham) and Alvin Karpis (Giovanni Ribisi)—thrilled many, Hoover (Billy Crudup) hit on the idea of exploiting the outlaw’s capture as a way to elevate his Bureau of Investigation into the national police force that became the FBI. He made Dillinger America’s first Public Enemy Number One and sent in Purvis, the dashing “Clark Gable of the FBI.’’ However, Dillinger and his gang outwitted and outgunned Purvis’ men in wild chases and shootouts. Only after importing a crew of Western ex-lawmen (newly baptized as agents) and orchestrating epic betrayals—from the infamous “Lady in Red’’ to the Chicago crime boss Frank Nitti—were Purvis, the FBI and their new crew of gunfighters able to close in on Dillinger.

The film is still set for July 1st.
Will you make a run for this film when it arrives in theaters?

SCOOPED first by: In Contention
TRAILER exclusive through: MSN
IMAGE from: Reel Movies


"Prisoners"' Dilemma

Because the film industry produces most of its pictures in a year as either secondary works (remakes or adaptations) or as the fulfillment of having a high concept commissioned, and because an alarming proportion of spec scripts are turned down or stumble into oblivion, I always find it interesting when a spec script is able to make it to the production rounds. Means it must be that compelling, the material rich or open enough for someone to want to play with it. (Dustin Lance Black shopped "Milk" before it eventually landed in Gus Van Sant's reliable hands.) In the case of this Aaron Guzikowski-penned spec (Endeavor is handling the project and will foot the bill if it comes together accordingly) -- titled "Prisoners" -- it hasn't quite reached pre-production since not even a director has signed firmly yet or discussed openly the potentials of the project, but its stars are aligning.

Christian Bale, my favorite actor (who appears twice on my Ten Favorites list below), is being peddled by The Hollywood Reporter to have signed onto the project along with other attached lead Mark Wahlberg. Their attachment, however, is tenuous at the moment since no bill to speak of (let alone foot) has been drafted -- pay would still need discussing. But if Bryan Singer ("X-Men," "Valkyrie") is involved as has been hinted at by both THR and Entertainment Weekly, then that gives both actors another reason to stay aboard -- assuming, of course, that they enjoy his work as much as I do and any fan of the man's best contribution to the thriller genre, "The Usual Suspects." (That movie certainly beats his latest contribution to the genre, last year's "Valkyrie," which isn't really a bad movie.) Singer said to EW late last month of the project: "I don't know yet. But I'm definitely intrigued. It's a great script. And I'd love to work with Mark." Hope he feels the same way about Christian! I do.

The script is certainly abuzz all about the internet and Hollywood -- one of the reasons these guys are latching onto the thing without signing it into contract -- which I'll assist with this premise (taken from THR):
"After his 6-year-old daughter and her friend are kidnapped, a small-town carpenter butts heads with a young, brash detective in charge of the investigation. The father is a Bible-reading, deer-hunting survivalist. The cop, meanwhile, can’t wait to get to the city. Feeling failed by the law, the father captures the man he believes responsible and begins to torture him in a desperate attempt to find out what he did with the girls, whom he’s convinced are still alive."
THR also says: "There's a lot more there, but we won't spoil it except to say the two leads have great arcs and the supporting players, especially the mothers, have juicy parts. The script is dark -- Disney ain’t touchin' this one -- and a real page-turner." Cinematical says their dreamcasting would entail Wahlberg as the cop and Christian Bale as the Bible-thumping father and I must say I can't disagree with them. Bale is absolutely compelling when he steps into brooding, heavy territory. He's got definite elements of De Niro in his style and methodology and is a brilliant actor when it comes to hypermasculine roles. And Wahlberg's already doing the daddy-gone-nuts thing in Peter Jackson's "The Lovely Bones" which is still slated for the Oscar season.

Imagine if this film had been done years ago, when both actors were in their physical prime (not that they're too far gone from that stage in life where such a thing is possible, but they are a little older). The dreamteam is set for a good daydream.

Who would win this battle?

SCOOPED first by: Awards Daily
IMAGES from: Celeb9 and Fused Film


Ten Characters

Perhaps this is one of those online trends/memes that's sweeping the blogosphere (at least the strata that orients most of their content around personal opinion and taste than big breaking Hollywood news), but I've been tagged by The Film Doctor (whose own list makes me jealous) to come up with ten movie characters that I love. My heart always races when I begin to think of these things, as I do think about them often (favorite femme fatales, villains, anti-heroes, movie superheroes, animal-characters, etc.) but never definitively. Most of the time I spring a short playlist of related films tied together by a common variable that's only three or four films long before I stop, or give up. Ten, that's a whole new ball game. It's also a great question for the frequent moviegoer because, really, how often does a character really stand out - so much that they dwarf every other aspect, and character, of the film? Unless you're just a people person and love everyone, not often.

[Note: I tried to exclude characters adapted from other works, but I failed. At least I succeded in keeping real life people -biopics, duh - off the list. I also found it too difficult to refrain from taking performance into account. It's like discussing an author's style without discussing exemplary passages!]
Not in any particular order...

Mary Poppins in "Mary Poppins" (1964)
Two women from the movies shaped my view of the rest of the female population from childhood to now, and this is one of them (the other is next on the list). Julie Andrews has a spot reserved in my heart forever between her work in this and The Sound of Music. But this is her more memorable performance, and the character herself is indelible, easily magical. When she's singing to her reflection and it actually sang back, I thought: how wonderful would it have been for our bleak world if Mary Poppins existed, and as a pair! They'd heal the world! There's an innate sadness to this film that I always found beautiful. When the kids separate and prove themselves to their father at the bank in front of his superiors, it's the birdies leaving the nest. When I moved away from home and said "Bye, Mom" for the nth time but it being the first time that it meant something different than it had always meant before, it reminded me of Mary Poppins. [Quote: "As I expected. 'Mary Poppins, practically perfectly in every way.'"]

Ellen Ripley in "Alien" (1979), "Aliens" (1986), and sequels (1992, 1997).
When I was younger, my favorite scenes from the first two films were the very last ones in the films - when she's waiting to fling the alien from the pod while nursing herself to keep sane in the suit, and when she's inside of the cargo carrier yelling at the Queen to get away from Newt ("...you bitch!") They're more visceral and satisfying and fun. But upon watching the films again with my girlfriend, I found I was magnetized to her being a book-abiding officer (debating with the captain to let the crew back in with the specimen in Alien; arguing with Ash in Alien) and being an upfront, troubled but sympathetic mother-figure with both Jonesy the cat and Newt. An ideal woman: multi-faceted and kickass. [Quote: "Micro changes in air density, my ass."]

Patrick Bateman in "American Psycho" (2000)
This is a character that is excessive and disturbing, and masterfully restrained as a performance. It's self-aware but not indulgent. Bateman can be viewed very obviously as a cautionary tale about materialism and social responsibility, which then makes the character laughable and absurd, but when viewed against the context of AIDS, hypermasculinity, bigotry and idealism, the film is sinister and downright scary. The scene where Bateman washes his hands after being beckoned to by a closeted gay friend is at first funny, but then consider how many anti-gay mini-narratives there are on FML.com. This stuff can be real. [Quote: "You're a fucking ugly bitch. I want to stab you to death, and then play around with your blood."]

Maxine Lund in "Being John Malkovich" (1999)
As much as I love Kate Winslet's turn as an eccentric, forward but addictive Clementine in Charlie Kaufman's Eternal Sunshine of the Spotless Mind, I think I love Catherine Keener as Maxine Lund more in this Kaufman story. She's blasphemous, manipulative, enigmatic, and very irresistable. Kaufman's knack for strange asides and unexplained flourishes in the dialogue work for Maxine incredibly well, and her lines are so full of double-entendres and innuendo that I wonder how it might actually be like to work with her. [Quote: "You're right, my darling, it's so much more. It's playing with people!"]

Harry Fabian in "Night and the City" (1950)
I love a good scoundrel when the actor is invested in playing him all the way through. Harry Fabian is a man who has a million and one plans to fame and glory and riches - of course riches - but his plans always fail. Not because his investment in the plans wanes, no, he sticks it through all the way, but because he plays himself so high and so hard that he can't win without sticking it to the very people he's borrowing from, himself included. I'm certainly not that type, I travel in always-cautious waters, so I can admire him while also dreading the plank he's drawing out for himself. A plan off the deep end and a bridge over troubled waters: all the same for him.

Mrs. Eleanor Iselin in "The Manchurian Candidate" (1962)
This is one of those rare times where I can say that I've little recollection of a Meryl Streep performance (there was a half-as-good remake of this if you can recall yourself), but that's the case here, though I've little guilt since this is Angela Lansbury we're talking about and this is a performance and character that, I think, should've given Nurse Ratched a run for her money on the AFI list of villains (Ratched being the next-highest female villain after the Wicked Witch). She's sly, she's endlessly persuasive, she's a closeted Communist (at the height of the Cuban Missile Crisis, too!), and she was only two years older than Raymond Shaw. [This is based on a novel by Richard Condon, but I can't resist a strong female villain.][Quote: "But now, we have come almost to the end. One last step. And then when I take power, they will be pulled down and ground into dirt for what they did to you. And what they did in so contemptuously underestimating me."]

Jake Gittes in "Chinatown" (1974)
Like I said: I like a good scoundrel. Jack Nicholson plays 'em the best. This one's good on his own, too, you know. His joke about the "Chinamen"? I still don't get it, but I know it's offensive and I still laugh when I'm with friends who've never seen the film and they turn and glance about before opening their mouths. Testing to see if it should be obvious. I also can't tell if Gittes is supposed to be a pretty good private eye, he's so often putting himself and his cohorts (the gorgeous Faye Dunaway as Evelyn Mulwray, for instance) into danger that he shouldn't even be hirable. It's Drunken Monkey as Detective. [Quote: "Let me explain something to you, Walsh. This business requires a certain amount of finesse."]

Travis Bickle in "Taxi Driver" (1976)
My generation seems to be all about pitting Al Pacino against Robert De Niro as if they're the only living actors over the age of 55. And most of my generation seems to be all about Scarface and his little friend (or any variation thereof) but I found the peformance gratuitous and harsh. Bickle, on the other hand, is unsettling and utterly fascinating in a way not unlike Manchurian Candidate's Mrs. Iselin. It's a descent story, too, like Scarface, but isn't locked into that political/social arena - this is about personal stakes and masculinity in an emasculating world. Trivia: this is the film that got Daniel Day-Lewis to come to America as a serious screen actor. [Quote: "June twenty-ninth. I gotta get in shape. Too much sitting has ruined my body. Too much abuse has gone on for too long. From now on there will be 50 pushups each morning, 50 pullups. There will be no more pills, no more bad food, no more destroyers of my body. From now on will be total organization. Every muscle must be tight."]

Selma Jezkova in "Dancer in the Dark" (2000)
A character that's even more tragic because you know, deep down and without saying it aloud, that it's partly her own fault. She's Lars von Trier's attack on America's law system, but where he might've intended it as a blitz against our society's bloodlust and requirement of a scapegoat in incidences of crime, I think Selma ended up being the manifestation of a lament of the necessity of social institutions and the reciprocity between the collective and the individual in order for those institutions to work. Notice that no one ever says we should change the law to prevent these things from happening. [Quote: "Because you just know when it goes really big... and the camera goes like out of the roof... and you just know it's going to end. I hate that. I would leave just after the next to last song... and the film would just go on forever. "]

Jim Graham in "Empire of the Sun" (1987)
The face of undying hope. This is in many ways Steven Spielberg's most unique film. He's never made a film like this again and he probably never will. His treatment and framing of youths here works so tremendously well because it's set in harrowing circumstances but colored so vividly and strangely, almost fleeting, as to be childlike yet wise and lived-in. Jim's spunk, his voracious appetite for collectibles and aviation-related tidbits and toys, and his gait are all put on full display so that we never forget he's a child. He never actually grows up. The film never makes wartimes look fun, or even manageable. But Jim endures. It's strange when we see him quiet and removed, aloof, as his parents search for him amongst the myriad of lost kiddies. You think they don't deserve a young man of his heart and spirit. [Quote: "Help me, I'm British."]

Some honorable mentions:
-- Clementine Kruczynski in "Eternal Sunshine of the Spotless Mind" (2004)
-- Linda Partridge in "Magnolia" (1999)
-- John Rooney in "Road to Perdition" (2002)
-- Lady Helen Port-Huntley in "The Saddest Music in the World" (2003)
-- Bai Ling in "2046"

And, perhaps later this year, I can induct into the list...
-- Carol, the Wild Thing in "Where the Wild Things Are" [the link is a new poster, via Awards Daily, that is actually more aesthetically pleasing than the first one]

As for who I tag to do this next... I tag Karen at Reel Artsy, and YOU since I don't really know who else I possibly could tag that contributes to a blog that would even somehow find this to refer back to. Leave them in the comments!

Who are your favorite characters?


USC Stays Connected

I really enjoy the different perspectives on technology and the blog phenomenon in these USC/Cisco shorts, although at times they reek of shameless plugging for the wireless router that's the common variable in each. I haven't figured out whether any or all of them are graduates of the university -- it's likely, but it wouldn't matter much either way. They're all at least adequately successful media- and corporate-bloggers and I guess that's all USC would really care about; whatever lassoes in some new partners/donors/lecturers/honorees. (Steven Spielberg never went to the school, but was offered an honorary degree before UCLA got a chance to so now he's all over the film program. Of course this means greater opportunities for me and others, but there's so much politics going on - especially in the rivalry between my school and that one across town - that it can often muddle the real issues.)

Seeing their adoration for blogging makes me want to blog. And it did, it worked: I've chalked this up as a response. Though I'm personally afraid of having to maintain close, strong ties to news of the day, of the hour, of the minute like these people seem to; I struggle to even coalesce all new tidbits into something that's coherent that I could possibly post about. And now, I also have to keep up with Twitter, and news of the second. My feed updates every hour or so on my BlackBerry, but in that hour there can be up to fifty new tweets to catch up on. Luckily, most of it is redundant, the same news coming from multiple outlets. I follow Anne Thompson, Jeff Wells, Kris Tapley and Cinematical the most (only the first and last being remotely reliable to make tweets throughout the week -- otherwise I just check the sites). [I also subscribe to Nikki Finke, Patrick Goldstein, Sharon Waxman and David Poland. But they all have such a harshness to their rhetoric and a tendency for self-inflation that I only ever go anymore if I have extra time and want something provocative - if that's the word for it. I'm aware there's a blog war going on, but I'm not going to link to it because it's only a battle of egos. And it hurts this discourse we're involved in online, makes us all look like babies.]

Tim Ferriss, author (4-Hour Workweek) and productivity guru:

Shira Lazar, media blogger and host of LXTV's 1st Look:

David and Amy Wenzel, online creative assets producers:

Do you keep a blog?
I'd really love to know, please comment your thoughts and leave a link! The value of blogs, aside from their spontaneity and instantaneity (also their pitfall), is in the ability to network.


Brüno: Red Band Trailer

Turns out I'm not so incredibly busy that I can't post a trailer, as I might've suggested in the last posting. In fact, I'll probably find some extra time this weekend to make a long post or two (eek - says my Orange County friends who admit they don't frequent my blog because of it).

Myspace's Trailer Park has landed the gig to show Sascha Baron Cohen's new film, the follow-up to the massively successful Borat, titled after another character - Bruno - who is an Austrian gay man as equally inept and forward as the Kazakh journalist. As you can guess, then, the trailer is full of shocking previews to some of the stunts Cohen's been pulling on mostly unsuspecting people, a couple of which have landed on local news. His work borders on being socially irresponsible, making confrontational and reckless behavior almost alluring, but it's informed by an awareness of odd, sometimes absurd, institutions and mores latent in our culture. He manages to always one-up "bad" or "dumb" people to reveal the ground-level realities of things we collectively create.

Through the harassing of individuals in the military industrial complex and techniques using laymen and amateurs as representatives of the whole, the film has an energy and approach sort of reminiscent of a Michael Moore documentary. Don't know if that means well for either or none, but that's what I'm getting. A sort of post-party, quasi-/faux-liberal humor piece on the state of the union.

Does this ring brilliant satire to you, or idiotic farce?

SCOOPED first by: Ain't It Cool News
IMAGE from: Gawker

Brief Hiatus

No, I'm not giving up on this blog, like I did with the other one (there were several other reasons why I chose to stop updating that blog which don't really need 'splaining since no one visited them in the first place, har har) I've just been swamped with school-related things and haven't really been near a computer to type up something big or small. I do have some saved posts that just need a click of the mouse to be published, but I don't remember what they're about anymore, so the content might be yesterday's news. The point of this blog may be repurposing old news with new insights, yes, but I don't think the posts I've saved are insightful. So I'll start something new when I have the chance.

Keep in touch!
(I'm on Facebook and Twitter frequently.)