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Red Right Hand: 11.2006

 

A LETTER TO JACQUES COUSTEAU FROM A DISGRUNTLED JAPANESE WORLD WAR II VETERAN

Found among the personal belongings of Private Tsubouchi Goro, aged 79, shortly after his death in the winter of 2004.

Dear Monsieur Cousteau,

I can recall our brief meeting upon that nameless atoll, west of the Tuamotu Archipelago, as vividly as I can recall the creases on the landscape print by Ito Yuhan that was my only memory of home for fifty-three years. It was an event that would shape my life for many years to come.

I was not aware of your renown at the time of our meeting. I have since learned that you are highly regarded as an explorer, researcher, and ecologist. I have surmised that your interest in the area may have centered around a variety of pygmy shark which I found to be quite tasty for the first fifteen years of my extended tour of duty.

You may recall that after anchoring at my nameless atoll you were startled to find me, in my ragged uniform, threatening you with a rifle which I discovered had apparently lapsed into a subtle state of disrepair at some point in the preceding decades. I was relieved when you treated me with some level of kindness after my blatant hostility. Your gift of the exotic chocolate bar, Ex-Lax, while appreciated did turn out to be somewhat unfortunate some time later.

However, I take umbrage at what transpired next.

After telling you of my duty to safeguard this strategic foothold for the mighty Japanese Empire, you informed me that the Second World War had come to an end some thirty-six years prior. While I was dismayed by my country’s surrender, I was elated at the opportunity to return home.

My joy was short-lived as you then informed me, with some regret, that the war had begun again just six years prior to your arrival upon my nameless atoll. While you offered me transport to North America, I had no desire to live as a prisoner-of-war, nor would my sense of duty allow me to leave my post, despite the lack of functioning firearms.

Some while later I was rescued by a young and apparently prosperous American fisherman who went by the name of Kegger. I owe my thanks to him and his several hearty shipmates aboard his vessel, the Bass-Ackwards. My recovery from the nameless atoll was apparently the cause for celebration as they consumed much beer and sang a shanty I have learned is titled “Getting Jiggy With It.” It was after my return home to Shimane Prefecture that I learned two things. The war did end in 1945, as claimed. Also, it did not, in fact, begin anew in 1976.

While I have been informed that you died seven years ago, it has been my experience that information of this nature may not be true.

My displeasure with you is exceeded only by by the disdain with which I regard my former commanders. My curiosity over the final outcome of the war that I thought I had been involved in revealed to me that the area west of Tuamotu Archipelago was, at best, a minor concern to both sides of the conflict. More so, the pebble which I had been assigned to safeguard. I have speculated that my poor fortunes were the result of a profitable game of Go I had participated in with a nephew of Tojo.

It is because of your cavalier regard that my final years have been tinged with a melancholy sadness of what could have been. While you were celebrated for your explorations, I shared a cave with several hundred generations of lizards who I believe regarded me as a deity. I can only revel in the fact that it took the deaths of over 200,000 of my fellow citizens to force the surrender of our great and noble empire, whereas it has been explained to me that your countrymen laid down arms at the thought of missing a glass of cold vinegar.

I should like to close with a haiku I have composed in your (dis)honor.

Moist, wrinkly Frenchman
Your humor is without care
Go and fuck yourself



With both exasperation and rage,
Private Tsubouchi Goro
Dai-Nippon Teikoku Rikugun (ret.)

P.S.
I took your advice and named my anonymous little atoll after you set sail. I chose to name it for a heroic and kind man. I have since opted to revoke that name. I think you know why.

Reprinted from 10.13.2005 because it amused me to do so and © Michael Patrick Sullivan (for what that's worth)
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STUDIO 60: "THE OPTION PERIOD"


To me, this feels like the episode where Sorkin's finally figured something out. Where real world now informs what he can do in Sorkin world. The ratings blow, but he's got a pass for the rest of the season (which he probably knew well before it was officially announced, and so when writing this one blah blah blah). Assuming the ratings stay the same or continue to drop, one can probably expect to not get a renewal for a second season. Now, he can just unleash it all. Be as inside as he wants and fuck-all to anyone who can't keep up. There's no reason for him to consider the audience in anyway or to try to do this or that, so he can go to town. Damn the torpedoes.

He's got other stuff going on besides Studio 60, anyway. The Farnsworth Invention on the stage, in fact it runs from February 20 to March 25th in workshop at the La Jolla Playhouse (I got fifth row, stage right just off center...ha ha...suck it). Charlie Wilson's War starts shooting in early 2007, so as far as "only being as good as your latest work," the show won't be his latest work.

Also, with the decreased license fee and probably less access to the characters by way of a reduction on the appearance guarantees to the cast, he's got some constriction and limitations so often force creativity. I don't think it's any accident that last night's apparently well-received episode was clearly a budget-saving bottle show. Some of his best stuff has been ("17 People" comes to mind).

Now he has taken the net out from under the guys, chucked Ricky and Ron for the more interesting Lucy and Darius and has Jamie hanging over a pit of fire after being set up as being the savior of the network. I could do with a little less of Harriet Hayes reliving the life of Sorkin's ex, Kristin Chenoweth, but with more media attention. There are, I'm sure, better parts of Sorkin's own experiences he could write about and it would probably do wonders for the show and the ratings.

I hope this is the case. The worst that can happen is we get more of the same as it's already been. Big deal, it'll be gone by the end of May. However, if he really does chuck everything and do...whatever...and it actually works (just play along for a sec), then maybe some people will come back to it, some buzz will build, the season will end strong, it'll get renewed and we can all tear Sorkin a new one because the beginning of the second season wasn't as good as the end of the first or because it wasn't what we wanted.

Well, you can.
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MAMET BY MUTATION

Being a bit busy this week, I offer up this largely baseless observation.

Here's a couple of scenes from Slings and Arrows. The first scene...whatever. I'm on about the second scene. It starts at 3:24 and features a Canadian playwright directing actors to go through the scene paraphrasing the lines.

He goes through a couple of iterations of this. The final iteration sounds, to me, like the peculiar rhythms Mamet attains in some of his...less commercial stuff. Is this how he gets there?
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CANADIANS ARE GOOD FOR SOMETHING II*

I was just gonna post some lame YouTube something or other, as there are many goings-on here and about and I'm also starting into a new spec and finishing up other paying stuff (like this). Then, I looked at the DVDs laying by the TV after watching a certain NBC program Monday evening and thought better of it.

Allow me to congratulate those involved with the fine Canadian television program, Slings & Arrows on the occasion of their having won several Gemini Awards (Maple-flavored Emmys). I have little-to-no knowledge of their competition, but seeing as I have monstrously enjoyed the DVD sets of seasons one and two, I tend to think it's greatly deserved.

What's the show about, you ask?

From the Ihm Dib:
In the fictional town of New Burbage, legendary theatrical madman Geoffrey Tennant returns to the New Burbage Theatre Festival, the site of his greatest triumph and most humiliating failure, to assume the Artistic Directorship after the sudden death of his mentor, Oliver Welles. When Geoffrey arrives he finds that Oliver is still there, in spirit anyway, and with his guidance (and often in spite of it) Geoffrey attempts to reconcile with his past while wrestling the Festival back from the marketing department. Despite a bitter leading lady, a clueless leading man, and a scheming General Manager, he manages to stage a remarkable production of Hamlet; the play that drove him mad.
That's Paul Gross as the aforementioned Tennant up there to the right. And, hey, Rachel McAdams is in the first season and one episode of the second.

[tangent] It's one of those shows where the some of the audience has to overcome some bizarre hurdle that they don't even realize isn't a problem for them and never has been. TV shows are about people first and foremost. This show is not about Shakespeare. Friday Night Lights is in the smae boat, trying to get over the hump with people thinking it's about football. Alex Epstein put it well in saying "People don't watch Gray's Anatomy for the medicine." They just don't apply that consciously. Cop shows and doctor shows get a pass. I groan audibly everytime I see another medical or law (enforcement) show get greenlit, but it comes down to the people in the show that gets me watching them. [end tangent]

Mark McKinney (that's him and co-star Martha Burns making their little awards dance or something) may not have been the gut-bustingest member of the Kids in the Hall troupe, but the man can write as far as I'm concerned. Especially in a dramedy (and the series award for Slings and Arrows seems to attest to that). He's done it here and he's got a writing credit on the excellent "Sword of Orion" episode of Sports Night. Now, he's working with Sorkin (sorry) again on Studio 60.

Now it's probably too late to save this show, since Fox News canceled it (and it really stuck. You have no idea how many people came up to me to talk about S60 got canceled). and why don't all networks just routinely cancel each others shows in this manner?

NBC doesn't want to seem to stick someplace where it can incubate or be paired with a more appropriate program (other than megahit Heroes, not much can retain those numbers and be up against CSI: Miami).

One step toward that goal, though, is McKinney. He's got actual background in actually funny actual sketch comedy. Useful in the same way that Marlin Fitzwater or Dee Dee Myers were useful on The West Wing. However, where you wouldn't expect either of them to be able to write an episode script, you can expect that from McKinney. Thus, I was pleased to see him get a story by credit on "Nevada Day, Part One" and then disappointed that (and I can't believe I'm typing this) to see that credit followed by "Teleplay by Aaron Sorkin." There really should have been an "& Mark McKinney" on there, because Sorkin just isn't hitting everything he needs to here. I'm with the guy, though. I'll give him all the time in the world to find the groove, but it's not me he has to worry about is it?

The Gemini in the picture up there? That's for acting. Would it hurt to put him on the show too?

And before we get off the subject of Sorkin...look at McSweeney's. S'funny. So much for my Sorkin Writes 24 idea. I really should pursue those things much quicker when I happen to think of them.

Canadian television has annoying me a little bit lately. Largely because of my inability to watch it. Getting foreign cool crap on in American markets seems to be severely lacking, even with built in outlets. Look at BBC America, it's loaded-down with more reality-show crap and old stuff than new material (they're getting better though). while the good stuff filters in here and/or there. I recall that the SciFi Channel even took a pass of Doctor Who initially. It's getting better on the UK side of things, as we've gotten Hu$tle, Spooks, Life on Mars, but there could be more. Though I didn't care for it, I think Patrick Stewart in Eleventh Hour should get some airtime over here, as should the thus far disappointing Torchwood.

Yes, I seek this stuff out though questionable means. However, it seems that either Canadians respect their countrymen's copyrights too much.** I've been wanting to see the recent series Intelligence (mmm...Klea Scott), but let's just say that that particular rainfall hasn't been torrential by any stretch (that I've seen, but maybe I'm not looking in the right clouds). Hopefully someone will see to it that DVD's are produced

In closing, allow me to direct you to several fine Canadians (or Canadian-shaped individuals): John Rogers, Alex Epstein, Denis McGrath, William Shatner

*Not actually having anything to do with Canadians Are Good For Something.

**Because outright internet piracy could stir interest abroad and it could get exported to some U.S. cable channel. There's places it could go. Slings and Arrows aired on Sundance (which my cable company didn't carry when season one premiered) and DaVinci's Inquest has been very successful in national syndication.

44 fucking links. Probably took longer to do that that to write it.
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