Monday, February 24, 2014
True Detective (Part 2)
True Detective wrapped up its sixth episode last night, and what I assume to be the shows second act. The interview framework of the show appears to be disposed with, as both Marty and Rust left the police station in states of anger. Good news though, as the two men reunited in 2012 at the end of the episode - hopefully leading to some resolution on the Yellow King case.
After all of the breathless Chambers, Lovecraft, Ligotti commentary that followed the previous few episodes, the show narrowed its focus for this most recent adventure, where we learned why exactly Rust and Marty had a falling out in 2002.
It's here that I confess that even I, the infallible television giant that I am, may have been misreading the show. When Rust met Martin's wife, Maggie, in an early episode, the two shared an immediate chemistry. Knowing that Rust and Marty would eventually split and having seen TV before, I automatically assumed that the dissolution would involve Rust sleeping with Maggie. However, as the series progressed, I started to wonder if that might be a red herring. Then I started to expect it to be a red herring.
Turns out it was no fish at all, and Rust and Maggie do end up having a dalliance, but not in the way that I expected.
Instead of Rust casting aside his carefully cultivated isolation to grasp at a human connection with Maggie, the coupling was instigated by Maggie, in a fit of well-earned pique after having been once again wounded by Marty's philandering.
The event itself was anticlimactic. Maggie comes to Rust's apartment, where she finds him in a state, drunk and reeling from the apparent willful apathy at the police department and in Louisiana in general. There's no doubt about what her intentions are, as she brings over a bottle of wine and almost immediately begins kissing Rust. He very briefly resists before giving in and the two share a love scene (to put it dishonestly delicately) that takes less time that it probably did for you to read this paragraph.
When Maggie reveals that she only did this to ensure that Marty would never bother her again, Rust is upset for reasons that aren't terribly clear (or audible, the sound mix was very weird in that scene).
I'm not one to get hung up on the way that True Detective handles women, but there is a vocal contingent that is. Most recently, Emily Nussbaum (whom I generally agree with) wrote about the "shallowness" that she perceives the show to be wallowing in. She lambasts the "macho nonsense" of the show and believes that Rust is presented to us as a sort of alpha-male fetish object.
As with Andy Greenwald early in the shows run, I feel like this is a fundamental misreading of what Pizzolatto is trying to say, there is an argument to be made, but it's not a strong one.
(Both reviewers are hung up on the "crazy pussy" line from early on, which I interpreted to be Rust passive-aggressively mocking Marty, not a disparaging comment toward the actual woman in question.)
(Also, Rust is not a fetish object. His philosophizing is clearly not meant to be taken entirely earnestly. Even if Nussbaum asserts that he's a fetish object by potentially being right about everything, it's not his philosophy that's guiding that quest for knowledge, but rather, a deep humanity at odds with everything he's saying. Rust is compelling because his actions stand in stark relief to his words. If anything it's an anti-fetishization - certainly less egregious than say Deadwood presents Al Swearengen.)
I think saying that the show is overtly misogynistic is an impossible claim. The entire crux of the narrative is based on the fallout from toxic masculinity. Yes, the women on the show are largely presented as either victims, prostitutes, conquests or tortured wives, but all of them are that way because of a pernicious patriarchal culture that allows these kinds of thing to happen.
(I also take issue with the way that some critics demean Maggie as nothing more than a "cop's wife" plot device. That seems both a shallow reading of the text and an instance of them prescribing their views of ideal womanhood on Maggie. For what it's worth, I've met a lot more women like Maggie than I have the "strong, confident woman" cliche.)
Rust actually addresses this theme directly in the episode when he claims that there has been a rash of killings targeting "...women and children - they get no press. The way things in the bayou get no press." The verisimilitude of that statement aside (I imagine that missing women and children get a fair amount more press in the real world than they do in Pizzolatto's Lousiana), you rarely see the conceit of a show laid out so explicitly.
(The line about things in the bayou getting no press is interesting to me as well. Most of the reviewers who are lukewarm on True Detective tend to be coastal liberal types and I'm wondering if there's some sort of classist response to the show. Is it easier to invest in the life of an urbane anti-hero like Don Draper or a genius chemist like Walter White than it is two backwoods detectives, one of whom routinely appears to punch above his assumed intellectual weight? This episode in particular addresses the way that systemic failures have contributed to the blight of South Louisiana, as Rev. Tuttle expounds on the promise of the charter system, while its stark results are clear to the viewer and Cohle.)
As I said, there's no way to label this show misogynistic, but some things did concern me this episode, chiefly the gratuitous T&A. I don't think the nude scenes from earlier in the season or tonight really did much to add to the story and both featured a conspicuous amount of "male gaze." This being HBO, it's not unexpected.
You can argue that it's inherently patriarchal that the two people charged with rescuing these vulnerable women and children are two white men, but somehow it doesn't seem like a crazy supposition that these two would be the ones working the case in the world that P has created.
Most interesting to me is the way that the show addresses women and sexuality. The most "liberated" female characters on the show achieve their liberation through sexuality. First the gals on the bunny ranch early in the season and then Maggie in this episode (and, I suppose, Marty's daughter, Audrey). Women asserting their agency through sex is pretty well-worn trope and, in the world of True Detective, appears to be the only reasonable means of female self-actualization.
For the men on the show, sex is shown mostly as a compulsion, as a snare that can't be avoided. Marty can't stop himself from being infidelious and Rust can't resist Maggie's come ons. The debilitating effects of male sexuality only grow more depraved as you consider the people that Rust and Marty hunt. This is an area where I feel like the show could say some more profound things if Maggie were more developed, alas, it appears that it isn't meant to be.
Beyond making me reconsider the gender politics of the show, this episode (and the Maggie/Rust pairing in particular) also made me reconsider my view of the overall narrative.
Perhaps because I've been conditioned to believe that good stories contain surprises and reveals, I was somewhat disappointed by the seemingly pre-ordained hook-up. I'm also a little bummed that it appears that Rust might be right, and there might actually be a vast conspiracy protecting the killers that he's investigating. It honestly feels a little rote, but Pizzolatto has said that he's "not trying to trick us," so that may just be it.
There's really no shame in telling a straightforward, predictable narrative, as long as its well told, (I point readers to Chronicle of a Death Foretold by Marquez), and True Detective has proven that it's more than capable of telling a story well.
I'm hoping there's more going on, and there are some signs that Rust may be unraveling - his creepy Se7en-esque apartment mock up, him telling the infanticidal mother to kill herself - but if it turns out to just be a monolithic conspiracy and not a more interesting story about the banality of evil, I'm fine with that too. I'm in.
Monday, February 17, 2014
Money (*Cash Register Sound Effect*)
For the first time in my life, I find myself in possession of a decent amount of money.
It's nothing crazy, in six months of being a working professional, I've still not amassed what my roommates did over the course of their summer internships while still in school. It's more than I'm used to though.
In the months between when I graduated and when I started working, I thought a lot about money. I thought about how I didn't have any, and I thought about how much my parents had spent on me over the course of the past 22 years.
Beyond that, I thought about my grandparents. I thought about how they grew up dirt-poor on a farm and how my grandfather worked his way up at the gas company to provide for his family. I thought about how my dad went to school to be an engineer because he knew he could earn a living, regardless of whether or not he loved building bridges and pipelines.
I'm a man particularly bound to familial piety. I rarely make any decision that I know would actively displease or, more accurately, dishonor my parents.
I thought earning money would give me a sense of moral rightness. That it would satisfy me in its own sake. Weber writes about that moral compunction to be a good steward being the basis of capitalism. With the specter of Calvin lingering over the reformation era, good believers had no real assurance of their election except the favor of God upon them in their everyday lives. Weber posited that the accumulation of capital was one way that these pious folks proved their heavenly bonafides. Being good Christians, they didn't use their newfound money for licentious or craven purposes. They just put it back into their industry, building capital over and over. Weber thought that the accumulation of wealth without exercising the attendant pleasures that it could bring was a form of worldly asceticism. Rather than beating his breast in the desert, the modern hermit sheltered himself in his factory - a constantly evolving altar to a God whose love was remote and unknowable with any real certainty.
Not being a Calvinist and instead choosing to take God's love as a given (perhaps too carelessly), this accumulation of capital hasn't done much to assuage the persistent dissatisfaction that his hung over my life since I graduated from college. I get a little thrill when I see the graph of my personal finance app raise higher and higher, but it's fleeting. When I look at it, I mostly just ask myself what I intend to do with that money. Why am I earning it, other than out of my aforementioned sense of familial devotion?
It's no secret that my real ambition is to be a writer, but, by all evidence, it doesn't appear to be a very pressing ambition. In fact, I've pretty much actively sabotaged any opportunities at writing that the universe has put in my way.
As a sophomore, I was one of two students in my journalism class to be recommended for an internship at the Statesman. Having developed a loathing of journalism (partly the result of my overly stringent and, frankly, not terrible pleasant TA), I put off applying until the last minute, when I was informed that the position had already been filled. That decision proved particularly biting each of the four separate times that I applied for jobs with said publication - jobs that I was more than qualified for.
Of course, journalism has only ever been a stepping stone for TV writing. A way to amass stories and find my voice before I became the next David Simon.
My closest brush with the entertainment industry ("the industry" they call it Tinseltown [Hollywood, CA {California}]) came the summer before my senior year. I applied to the summer program on a whim after the conclusion of a meeting for a website of specious quality that I was writing for at the time. As I typed, sweating in an overheated meeting room in the PCL, my heart pounded and my brain flooded with the addicting chemicals that correspond to possibility. In my essay I said that it had been my ambition to be a TV writer since I was thirteen years old and first read Live From New York: An Uncensored History of Saturday Night Live (a book my brother, by happenstance, just bought me for Christmas. Here's hoping that's portentous). I wrote about how the summer program would be my first foray into certain...if not stardom, then at least productivity and fulfillment.
Instead, I panicked when none of the internships in development got back to me, so I worked for a magazine and toiled in the content management mines for eight hours a day. It was an educational experience, but not the one I had imagined all breathless and sweaty that day in the PCL.
Twice I've been offered jobs at the radio station where I once interned and loved to work, but both times the timing has been off.
The only writing job I've turned down that I'm happy I withdrew from was in Lubbock. I think it's probably better for my character to be discontent and making money rather than content (in the same way that the denizens of an opium den are content) and making no money.
Luckily, I've now realized what I can do with my newfound largesse.
This whole time, I've felt beholden to this narrative I've concocted about my family's finances and I don't even know if it's true.
(To be honest, I don't really know anything about my family. We rarely talk about ourselves to one another, and even more rarely do we talk about our history. In a movie this would be the sign of a nefarious past, but in this case, I think it's merely a sign of generations of Catholic steadfastness.)
I think all of my internal (and unshared) lamentations and mental anguish may have been mirages. Never once has my father ever actually told me that he expects me to enslave myself to a salary. If anything, his actions have shown the opposite. He's been, honestly, too generous. Beyond that, I think he really wants me to pursue my dreams and to be happy.
A few days after I applied to film school, he sent me an email to a youtube video and said, "You should appreciate this, as a filmmaker."
Now, even I wouldn't have the gall to call myself a filmmaker, but that's kind of how he is. When I was writing all the time, he called me a writer. From what I've gleaned from our conversations, my dad may view me as a writer even more so than I do myself.
So I don't know exactly what I'm going to do yet, but now (thanks to the sacrifice of untold Gregorys before) I have a little money, and I'm going to try to do something meaningful with it.
I don't know when, or how, just yet - but I'm going to try. I'm not going to look back a year or five or ten from now and wonder why I wasted my youth. I'm going to try.
Tuesday, February 11, 2014
True Detective (We're Back to TV Talk)
HBO's True Detective was basically made for me. It combines several of my favorite things, including - Matthew McConaughey, HBO dramas, pulpy cop stuff, and the state of Louisiana.
The first half of the season wrapped up last Sunday, and I'm in the rare position of being able to write about a show while it's actively airing, so I've got to take advantage.
I'll start by saying that it's not what I expected. When the show was first announced a while back, I thought it would stray more toward the kind of high-concept stuff that HBO has been producing recently, your Trues Blood or your Games of Thrones. I didn't anticipate that it would be a hyper-masculine, but neutered, drama that mostly involves two dudes driving around and annoying each other. My subverted expectations turned out to be a good thing, because the show is actually pretty great.
I don't think it's the best show in the world, but I think it's a show that works and is very deliberate about the themes that it's trying to explore and the atmosphere that it's trying to cultivate, and, for the most part, the internet agrees with me.
(As one of the web's preeminent iconoclasts, I'm naturally wary when my opinion lines up too neatly with the zeitgeist, but one is only as valuable as one's truth, so I won't be contrarian just for the sake of it.)
One prominent member the internet, Grantland's Andy Greenwald, does not agree with me. Greenwald has been wary of the show since its beginning and the simmering unrest of the commentariat came to a head this week after he posted his recap of the most recent episode.
I'm not one to begrudge a man his opinion, Greenwald is a talented TV writer who seems to know his stuff, but this opinion did actually bother me, because I think he's fundamentally misreading the show.
But with Hart in free fall, it’s clear that writer Nic Pizzolatto doesn’t think Cohle is loopy — he thinks he’s awesome. I’d prefer a show that offered more than halfhearted resistance to Rust Cohle’s whiskey-courageous speechifying. But more and more it’s clear that wherever this show is heading, he’s the one in the driver’s seat.This is a criticism that I don't understand. If the show were presented as a straight mystery-thriller, one could maybe see Pizzolatto as glorifying McConaughey's Rust Cohle. He gets to deliver lots of weird, nihilistic speeches and is repeatedly praised as some sort of super-detective. A lesser show might lean into these traits to turn Cohle into your classic badass antihero type dude - House with a gun.
However, this is impossible due to the framing device employed by the show. Not only are we seeing Cohle and Harrelson's Martin Hart attempt to puzzle out a murder in 1995, but we also see them talking to a new crop of investigators in 2012. (Investigators 2: The New Batch).
The Cohle presented in 2012 is in no way awesome. He's a washed up drunk waiting for death. However he may be presented in the past timeline, we're not supposed to see Cohle as an aspirational figure.
True Detective has also been criticized in a broader sense for two reasons, both, I believe, unjust.
Some say that it's just another show about a white, male, antihero trying to figure out his place in this world. In this sense, the show is simply being punished by chronology. We've had many successful dramas in this mold over the past decade plus, so it stands to reason that viewers may get burned out. (Is it fair to judge TD on the shows that came before it? Probably not, but it's inevitable.)
The other criticism is that the show leans on the spooky occult serial killer angle that has been done to death on both cable and network TV. Again, the show is being punished for arriving in 2014 instead of 2007.
As far as the serial killer thing goes. Pizzolatto himself said that that angle is a secondary concern to him. The real story he's telling is the construction and destruction of Cohle and Hart's relationship.
I think it's here that Pizzolatto most succeeds as both a storyteller, and as someone trying to separate his characters from the aforementioned pack of similar heroes.
Cohle is a fundamentally broken man. His entire life has been a series of traumas, starting with his childhood, to the death of his daughter and the dissolution of his family, to his time as an undercover drug-runner, all the way up until where he find him, as a detective in Louisiana.
These traumas have turned Cohle, in his own words, into a big-P Pessimist. He's constantly spouting off about the pointlessness of life and human existence. His entire ontological underpinning is one of nihilism and materialism. Cohle is where he is because of some unfortunate causality that he has no power to alter one way or another, but still troubles him deeply.
If this was all there was to Cohle. If he was just some sort of misery-cliche spewing automaton, then, yeah, he'd be a kind of trite character. But the show doesn't present him that way. In my mind, it's never clear how seriously Pizzolatto (and, by extension, the audience) takes Cohle's ramblings. Furthermore, it's not always clear how seriously Cohle takes them himself.
For all of his philosophizing, Cohle is still capable of moments of humanity. He takes clear pleasure in being around Hart's family, and he's injured when Hart's wife, Maggie, tells him that he must have been a bad husband. He even hints at having a sense of purpose, when he tells Hart that although he's a bad man, his job is to stop other bad men.
Hart is similarly complicated. He's presented at first as the antithesis to Cohle. He's a God-fearing family man who just wants to do his job and live his life without thinking too much about it.
Just as Cohle is afforded brief glimpses of humanity, Hart is slowly revealed to be more sinister than he would ever think himself to be. He's disengaged from his family, he's a philanderer and a hard drinker, and, when crossed, he flies into violent, self-destructive rages. Cohle, and the audience, can clearly see this, but Hart is blind to it.
As these two characters with serious personal blind spots get to know each other, the audience, through the flashback device, is afforded a glimpse into the reality of both men. We know how the story ends. Cohle is a sad drunk; Hart is a successful, but no longer married. Neither get a happy ending.
By already showing us what's going to happen to the characters, Pizzolatto has freed himself from the trap of the antihero. There's no temptation to glamorize these men as their adventures unfold. Each time they do something badass, the camera cuts back to 2012 and reminds the viewer that, no matter how cool they may be now, it's going to ultimately be empty. All that's left is to just watch and enjoy the atmosphere.
In short, Andy Greenwald is wrong and I am right. Andy's assertion is doubly meritless because he loved Breaking Bad which subverted the fundamental conceit of the show by fetishizing Walt.
Hire me, Grantland.
Love,
Kyle
Tuesday, February 4, 2014
Pitches (American Horror Story)
It's no secret that I'm one of the hottest young writers in the game right now. My pilot has been rejected by three (three!) screenplay competitions. One of which offered me the note, "The other characters aren't well defined and the humor could be funnier." So I'm basically on a rocket to the moon.
It's in this capacity that I thought I would offer to help embattled showrunner Ryan Murphy (creator of Nip/Tuck, Glee, and American Horror Story) with some ideas on how to improve the next season of American Horror story. The season that ended just last week was a big pile of awful campy garbage, in a bad way, not in a good way like the tolerable Murphy excretions, so it's clear he needs my guiding hand.
First off, Murphy has expressed his desire for the next season to be a period piece, like season 2's mostly successful American Horror Story: Asylum. It should be noted that this is a season that featured a bunch of aliens that were never explained, Dylan McDermott nursing from a prostitute, and a woman who may or may not have been Anne Frank.
I know Murphy's natural inclination will be to look for eras where he can cast divas to chew scenery for 13 hours worth of episodes - Revolutionary France, Victorian England, the Roaring Twenties - basically any place with costumes, stupid accents, and horrifically tasteless things for Murphy to appropriate as entertainment (the natural terminus of this show is a season that's just set in an abortion clinic). It's here that I'd encourage Murph to go against his first instinct and instead of looking backward for a period onto which to lay his piece, he look forward and produce American Horror Story: SPACE!
I was originally going to actually break 13 episodes worth of story, but that proved daunting and also boring. So here are the broad strokes.
Cast
Sarah Paulson - Dagny Coleman, a sensitive research scientist who lives alone on a space station with her husband, who she isn't sure if she loves.
Lance Reddick - David Palmer, great-great-grandson of the former president, David unrepentantly loves Dagny, but he's unable to open up emotionally because he is still scarred by the troubling legacy of spacism (racism against people who live in space).
Dylan McDermott - Johnny 5, an android who is plagued by existential questions and also an addiction to moon rocks.
Taissa Farmiga - A broom.
Story
Episode One: The Space Between
Dagny and David live aboard the space shuttle with their android, Johnny 5, trying to find a cure for feline diabetes. A meteor shower destroys their communications array. Johnny and Dagny bang while David tries to repair it. David spies the couple through a window and begins to cry, but only briefly, as he is almost immediately shredded by another meteor shower. A mysterious furry appendage drags his body away.
Episode Two: Ants Marching
Johnny is jonesing for a hit of Buzz Aldro (moon rock slang) and turns hostile toward Dagny. Dagny seeks David for comfort and finds him, but something is different. He is unusually placid. David makes her eggs. Johnny gets in a fight with his dealer over the telecom. On the underside of the ship, it's revealed that the real David is trapped in the web of a giant spider played by Jessica Lange.
Episode Three: Crash Into Me
The spider agrees to spare David if he promises to teach her how to dance. A montage set to an original Randy Newman composition shows the pair hitting it off, eventually banging. Inside the station, Johnny's dealer, Chudge (Ron Perlman) arrives. He is a bigfoot, the last bigfoot. Out of guilt for her actions, Dagny dotes on the mysterious non-David, cooking whatever he wants, not realizing that the satellite was never fixed and no fresh food supplies would be coming. The ship is rocked by an explosion and a gang of space hunters arrive, led by John Lithgow. They aim to kill the last bigfoot.
Episode Four: #41
The crew of four still within the ship hide in a secret compartment in the ship's attic, while the hunters tromp around looking for signs of Chudge. They find scat and fur, but are unable to determine if they are from a bigfoot or from a known species. In an effort to keep his men from being bored, John Lithgow starts hiding behind corners and throwing rocks, then looking at his men all like, "Did you see that!!!???" Then they start a campfire and tell spooky stories. Chudge starts a diary in the attic.
Episode Five: Mercy
With food and moon rock supplies exhausted, Dagny and David are both at each other's throats. Chudge is confused by the new experience and doesn't fully understand why everyone is fighting. Non-David remains placid. Without outside stimulation, the hunters start to develop space madness, clawing out their eyeballs and tongues. On a walkabout around the outside of the station, Real David finds a rose that he begins to nourish. The rose (Frances Conroy) begins to talk with him, issuing curt one-liners like a pez dispenser. The spider spies this interaction and grows jealous.
Episode Six: If Only
Being a simple spider and therefore largely unable to distinguish between humans, the spider sends her brood of tiny spider babes to gobble up the inhabitants of the space station, as revenge for David's relationship with the rose (which she believes to be a smaller human). The horde of little spiders enter the station and lay waste to all but John Lithgow who grabs hold of the broom and sweeps them out of the airlock, along with the broom. Driven mad by what he's witnessed, Lithgow gains the second sight, and learns where the core four are hiding. He marches up there with an old timey blunderbuss, fully intent on slaying them all.
Episode Seven: Two Step
David falls more and more deeply in love with the rose, but she won't return his affection. Rather than live without her, he pledges to die and flings himself off of the station. Realizing that she has lost her one chance at true love, the rose withers away. Inside the station, Chudge throws himself in front of John Lithgow's musket ball, sacrificing himself for his friends. The real David, caught in the ships orbit after his failed attempt to jump off, comes careening through the entrance to the attic, totally splattering John Lithgow's head against the hull.
Episode Eight: You & Me
Through Chudge's sacrifice, the gang realizes that friendship is most important thing. Also, it turns out that the mysterious David was the real David's doppelgänger, who had been pulled through a trans-dimensional rift when the meteor shredded David Prime. Also, David Beta didn't actually have to eat anything, he was just being polite. The gang shares a laugh about that while Chudge's corpse is roasting over the fire pit. From outside the ship, there's an ominous rumble, followed by the evil voice of the spider lady. She's come for revenge!!!!
Episode Nine: So Much to Say
The Spider Lady slays everyone aboard the ship. The next 37 minutes are a ham-handed monologue about loneliness and what it's like to be an aged lady. Jessica Lange wins an Emmy.
Episode Ten: Lie in Our Graves
Flash-sideways to an alternate universe where everyone's genders are reversed. Things that seem normal in the previous world seem shocking and oppressive. There's gratuitous sexual violence. Everyone learns a valuable lesson.
Episode Eleven: Cry Freedom
Devastated by her newfound loneliness, Spider Lady begins to sing an old fratro spiritual from the dark days of frattel slavery. She spies a beam of light come through the hull. It grows brighter and brighter before finally materializing into the form of Dave Matthews. Dave and the Spider scat-sing a bunch of nonsense. He then reveals himself to the be singularity, an omniscient, omnipotent merging of man and machine. Moved by the spider lady's faith, he restores the lives of everyone on the station. The broom floats back in.
Episode Twelve: Drive In Drive Out
Flashback to heretofore unseen character, Blord, the vampire. A montage of Blord and his father fixing up an old space shuttle runs under VO of Dagny explaining that research scientists and vampires have always been at war - since time immemorial. The montage continues with the vampires invading space stations, building ornate castles in them, seducing the scientist and then running away with their proprietary research. Flashforward to present day and the characters learn that there is a cabal of vampires headed their way. The threat is presented as incredibly severe, but when the vampires arrive, Chudge runs them all over with his motorcycle.
Episode Thirteen: Satellite
David and Dagny complete their research, eventually learning that the cure for feline diabetes was to start an ad campaign encouraging cats to seek out sugar-free sodas. (Cats are capable of thinking and feeling just as deeply, if not more so than humans, but are bred as a food source by their tyrannical simian masters). Also, everyone learns that what's really important is to let the world know who you are. The characters return to Earth and come out as research scientists, an inter-dimensional clone, a spider monster, a bigfoot, an android, a bunch of hunters, and John Lithgow. Everyone applauds their courage, and, more importantly, the courage of the person who created their platform, Ryan Murphy.
The End...
The End?
Monday, January 27, 2014
Modern Fart (A Critical Review of I, Frankenstein)
This piece is officially under a Raphael Warning. I will henceforth be cool, but crude. Please stop reading now if you're offended by hypothetical penile trauma and/or you are my parents (or Aaron Eckhart, I guess?).
This evening, I stumbled upon what I believe to be the world's greatest hypothetical.
For those of you who can't see it. The question reads as follows:
Would you rather take a three second minor shock to the dick hole for free, or pay $25 to see I, Fartenstein?Ignoring the iPhone's questionable take on the proper spelling of "dickhole," I feel like this is a question that bears dissection. (Though I fear that I've tipped my hand by christening it I, Fartenstein in my original question.)
For a refresher, here's the trailer.
The film (which I have not seen) apparently stars Aaron Eckhart as Frankenstein, a naming convention that I assume to be a decision of convenience by the filmmakers. His character should rightly be called Frankenstein's Monster or Monster T. Frankenstein, if he's adopted his creator's surname. Bill Nighy plays some kind of generic bad guy, who I've named Business Jerk. Yvonne Strahovski is also in it, playing Blonde.
At the start of the trailer, Frankenstein declares, "I am like none other," before confusingly announcing, "There's an entire army of monsters like me, tens of thousands of them," roughly a minute later.
I assume there is a reason for this, but I'll probably never find out what it is. I bet Frankenstein was cloned or something, or maybe someone found Dr. Frankenstein's notebook. Also, there are gargoyles? (And not cool ones like the Manhattan Clan.)
This appears to be your standard steampunk inspired bust 'em up featuring a some sort of superhuman protagonist with vaguely defined powers. You've seen this movie before.
Now lets turn to the other end of the hypothetical, the dickhole shock.
I haven't really worked out the delivery method of the shock (I'm not a weirdo), let's just assume it's convenient and you can do it without the presence of an audience. As defined in the question, it only lasts three seconds and is mild (think 9-volt battery on your tongue).
Let's do a comparative analysis of the two experiences.
- Dickhole shock is almost assuredly something you've never experienced before. I, Frankenstein is just Van Helsing all over again.
- Dickhole shock lasts 3 seconds. I, Frankenstein is 92 minutes.
- Dickhole shock costs you nothing. I, Frankenstein (in this scenario) costs you $25. With that kind of money you could see any other movie twice.
- I, Frankenstein stars Bill Nighy, which is, admittedly, a point in its favor that Dickhole shock can't match.
Being a consummate researcher, I've decided to expand my inquiry beyond just a simple comparative list. I presented eight of my friends with this very hypothetical and have catalogued their responses below:
"Dick shock for sure."Unfortunately, my scientific survey went about as well as my score on the AP Stats test (2) suggests it would have. Out of eight responses, we got one for dickshock, one for the movie, three unsures, a non-response, one that was a mean joke that I won't reprint and one endorsement (?) from someone who had already seen the film.
"I would rather see I, Fartenstein. That dick shock sounds unpleasant."
"Both."
"Yeah, put me down for simultaneous."
"Both as well. Have you seen the scars on his chiseled chest?"*
"It's really not that bad."
*
You may ask why this film in particular has so raised my ire, especially now that I'm trying to follow Mack Brown's advice and abandon snark to embrace sincerity and kind-thinking. I, Frankenstein, has forfeited that mercy by being the latest in a long line of cynical, shallow, stupid and derivative movies that attempt to capitalize on the name recognition of characters that are conveniently out of copyright.
I, Frankenstein and its ilk are testaments to the laziness of the modern studio. It is grist for the mediocrity mill, and the mediocrity bakery never tires of producing soggy, inedible loaves of garbage-bread. That the film has gone so far as to deface our hallowed institutions like Muscle & Fitness magazine with seedy buzz marketing is unconscionable.
Let's be clear, I don't blame the thousands of cast and crew that worked on I, Frankenstein. I don't even blame the writer for churning it out. People have to eat, and I don't begrudge them work. I just wish their talents had been directed toward something better. You can make big, dumb action movies that don't hinge on high-concept nonsense to be successful. The best and most successful current action franchise is doing that every year.
I think the worst part about I, Frankenstein is that it was CLEARLY DOOMED TO FAIL. One look at the trailer was enough to know that it would never succeed, and it's not. It grossed $8 million on its opening weekend, which isn't a good sign of it making back its modest $65 million budget - especially factoring in whatever payola was involved in that magazine cover. That doesn't even show up on the official books!
I'm upset because I like movies, you guys. I want movies to be good and I wanted talented people to produce things of value. I don't even mind a bad movie if it at least tries to be interesting, but we're currently at peak steampunk monster capers and that's no good for anyone.
Stretch your wings, Hollywood, fly like the mighty gargoyles in the trailer. Crush your fears like so many Bill Nighys beneath Frankenstein's boot-heel. Heed my prophecy (you guys are into those right?) otherwise, audiences will continue to stay home and opt for dickhole shocks, and you'll have none to blame but yourselves.
Tuesday, January 21, 2014
Writing about Dr. V (A Losing Proposition)
Because the world is what it is and because I live in it, I feel obligated to write a response to the recently published, praised, criticized and now apologized for Grantland piece "Dr. V's Magical Putter" by Caleb Hannan. Clocking in at around 8,000 words, the piece is the perfect low-culture, high-drama story for a journalistic atmosphere that puts increasing emphasis on the Longformification of news. After all, there can be no think pieces if we have nothing to think about.
As I write my response to this, it should be noted that I am only a journalist in the barest sense of the word. Like Hannan, my reporting has largely been confined to the world of sports. Unlike Hannan, I've never published anything that took up more than a few days of research, much less the seven months he spent reporting this story.
Unlike Hannan (as far as I know), I studied a field (religion) that actively intersects with many issues at play in his piece, namely, privilege, in-groups vs out-groups, patriarchy, oppression and LGBT issues.
Despite this, like Hannan, I would have been utterly unprepared to report the story he eventually published.
The gist of the story, if you haven't read it, is that Hannan was inspired to research a new putter he saw pitched on Youtube. The enigmatic Dr. Essay Anne Vanderbilt, inventor of the putter, agreed to let Hannan do a story on her work, on the basis that he focus on the creation and not the creator.
(In order to avoid doing what Hannan did and exploit the mystery of Vanderbilt for the sake of narrative, I'll say up front that he learns that Vanderbilt is a trans woman.)
Over the course of his investigation, Hannan discovered that Vanderbilt was not the brilliantly educated inventor that she told him she was. Vanderbilt claimed to be a doctor of physics with degrees from both MIT and Wharton, she did not possess those degrees. Nor did she work on the stealth bomber for the Department of Defense, another one of her claims.
The "science" that Hannan was ostensibly reporting on turned out to be as scientific as those stupid focus necklaces that baseball players wear.
This in itself is a pretty good story that would probably have occupied 10 minutes of your average Grantland reader's day.
Hannan didn't stop there.
In addition to uncovering Vanderbilt's phony credentials, Hannan also learned that Vanderbilt was a trans woman, which served to simultaneously explain why he was having so much trouble with his background check and also to "send a chill up his spine."
Armed with this new information, Hannan tries to flesh out more of Vanderbilt's background. It's certainly chaotic - featuring several lawsuits, out of control finances and a suicide attempt.
Vanderbilt is undoubtedly duplicitous. She is also a trans woman. These two things are not to be conflated, but the way Hannan writes the story, it sounds like they inevitably must be.
In his efforts to confront Vanderbilt about this new information, Hannan only served to agitate the inventor. His excitement over his find eventually led to him outing Vanderbilt to an investor.
The story ends with Vanderbilt dead from suicide and Hannan wrapping up his piece rather abruptly, claiming that, "Writing a eulogy for someone who by all accounts despised you is an odd experience."
This story came across my radar on the day it was published, with many of the sportswriters I follow praising it as a solid piece of reporting. I opened it, but didn't read it, because, well, I don't care about golf that much and I have a job and can't devote all my time to reading 8,000 word articles about a sport I don't follow.
It came across my radar again a few days later, when the activist side of my feed started tweeting angrily about the story and responding to it. This is when I decided to read it.
Well first, I read a piece that my friend Audrey wrote on Autostraddle. Audrey's critique is relatively even-handed and instructional. She focuses less on the uproar the story caused within the activist community and more on educating people on how to report on trans issues. What I find most admirable about her work is that she manages to communicate a profound sadness that doesn't overwhelm the didacticism of the piece.
Then I read Josh Levin's piece at Slate, because it had been recommended to me on Twitter. Levin's piece is more of a meditation on ethics and empathy within journalism. When you're in journalism school, you learn a lot about the first and only a little about the second. I remember in an early journalism class (one I shared with Audrey, in fact) being offput by the cavalier way my instructor talked about the subjects of some of her previous stories, as if they were merely performers in a narrative, rather than living human beings. As I understand it (keeping in mind that I have very little newsroom experience), most of the time, empathy is less important that a good story.
It's through these two lenses that I actually first read Hannan's story.
As I read, I looked for signs of malicious intent within what Hannan wrote, but I struggled to see it. What I found instead was inexperience, ineptness and a lack of compassion.
(The paragraph that I just wrote is troubling to me as a human being. Regardless of Hannan's ambitions, his story likely deeply traumatized Vanderbilt and assuredly traumatized many trans people and allies that read it. I should, by all accounts, accept this as justification enough to let the story be what it is and not offer my own commentary. I will never understand what it's like to read this story through the eyes of a trans person, and any observations that I make are so much chaff to the winds of the internet. I have the luxury of writing about it almost dispassionately.
[I'll confess that my lack of passion {or compassion} for a story in which someone takes their own life probably doesn't bother me as much as it should. Death, even tragic and avoidable death, is an aspect of the human experience that one inherently becomes desensitized to - unless it strikes you in a vulnerable part of your own soul. I don't believe this to be an admirable trait, but it's also probably necessary if you want to function - particularly as a journalist.]
I will say that I have no desire to defend or to vilify Hannan, and I don't know how much of that I can ascribe to my own privilege. Do I, as a young, cis writer, somehow feel a subconscious urge to defend/identify with someone who made several mistakes that I could easily see myself making?
[Again, this line of questions raises further doubts within me. Is it appropriate for me to even consider my own thoughts and feelings on this story when nothing will change except that maybe my friends on Facebook will be made aware of this controversy? The trauma that the story inflicted will remain, and I will remain incapable of fully processing it.
{Of course, is this line of questioning inherently devaluing of my own contribution <however meager> to the discourse? Should I automatically recuse myself from writing about things just because I can't feel them in the way that others can, or in the way that I would like to?
<We descend down the nautilus further and ask, Does it matter how I feel? Are my thoughts germane to the discourse on any level? Is all of this just an exercise in stupid hubris? This whole exercise sort of makes me feel like I'm being callous in the face of tragedy, and that's not the person I want to be.>}])
I found the following issues with Hannan's piece:
He was clearly trying to tell me something, which is why he began emphasizing certain words. Every time he said “she” or “her” I could practically see him making air quotes. Finally it hit me. ClichĂ© or not, a chill actually ran up my spine.
Hannan's eureka moment is remarkably poorly worded. Not only does the spine chill imagery conjure up a sinister vibe, it's at this point that he (perhaps unintentionally) begins to suggest a correlation between Vanderbilt's gender and her duplicitous business practices.
(I am kind of interested to see how the language that we use when we talk about trans people evolves. "She was born a boy" contains an inherent disconnect between pronoun and noun, but functions as a piece of descriptive [if offensive] language. I wonder, as trans people and their stories become more integrated into the mainstream, if the rhetorical edifice that has been created around the group will begin to naturally erode? I suppose not anytime soon, especially as some of the more perverse denizens of the internet seem to take great joy in misusing pronouns solely for the purpose of hurting people. There's also the move toward gender neutral pronouns, which I don't see taking off, for no other reason than that people can't be bothered.)
Things get more complicated from there. Were I Hannan, I would probably have done my best to report the story without outing Vanderbilt or revealing her previous name, but he's already decided on his course of action.
Hannan continues with some more pronoun waffling, but seems to be doing his best to use masculine pronouns when referring to Vanderbilt at the time she identified as male and feminine ones when she identifies as female. (Again, style guides say to always use the pronoun that the subject requests, but I don't think Hannan was being deliberately hurtful in this instance.)
(I'm not naive enough to believe any editor would spike a story like this.
[Also, this isn't to say that a history of self-destructive behavior is reason enough to stop reporting a story. In this instance, however, Hannan was reporting on what appeared to be a particularly at-risk person from a particularly at-risk group.])
Things get even weirder once Hannan backs off of his quest to uncover Vanderbilt's past. He goes back and talks to the investors that he seems to believe he is protecting, and they all seem to like the putter and take no issue with Vanderbilt's fabrications. So this whole expose eventually comes to naught, which could have been a funny ending, if Hannan had just written about his obsessive quest to expose a fraud who didn't actually hurt anyone. Instead, he exposes Vanderbilt's trans status to her investor and provokes her further. Vanderbilt eventually breaks off contact.
This doesn't excuse Vanderbilt's behavior. Had Hannan published the story without outing her to anyone, I would say that she earned any consequences that came her way. When you defraud people and agree to a story about said fraudulent enterprise, I can't blame a journalist for digging.
That's beside the point, though, as we'll never know what would have happened if Hannan had published that version of the piece.
Some of that commentary suggests that Hannan's story is the reason that Vanderbilt killed herself. This is reductive and a bad way to talk about suicide and mental illness. Suicide is a uniquely personal act, and, just as it would be unfair to blame Vanderbilt's partner for her previous attempt, so would it be unfair to blame Hannan for her death.
Beyond all of the points I made throughout Hannan's piece, the thing that most baffled me was that it seemed that no one at Grantland thought to ask for the input of a trans writer or editor. Grantland is bothersome in many ways, but it is an outlet that strives for inclusivity. That they wouldn't think to use this simple stop-gap truly baffled this blogger.
(I didn't know at the time whether they had any trans writers. I would soon learn that they do not, but ESPN as a whole does.)
Other points about the gross insensitivity of the piece stand, and as I read them, I somewhat morbidly awaited the official response from Grantland.
I truly had no idea what to expect, as deliverer of said response was to be Grantland's Editor-in-Chief Bill Simmons.
Simmons is an avowed bro who has never done any reporting in his life. He somehow ended up the head of the most prestigious of ESPN's many appendages with his scintillating insights into which 80s starlet Rajon Rondo most embodies. Why any outlet looking to do serious reporting would entrust him with editorial oversight is beyond my ken.
I was surprised by the thoughtfulness of his piece when it went up this afternoon.
In it, Simmons apologizes and offers up the best explanation that he can.
Of course, Vanderbilt may not have believed Hannan when he claimed that he wouldn't out her. She may have seen his unearthing of her past as a violation of the "science not the scientist" agreement, and therefore been disinclined to trust him.
(I, personally, don't believe that Hannan violated said agreement when he researched Vanderbilt's credentials. He did not do so with malicious intent, and, when he discovered that she was a fraud, the story of the science and the scientist became inseparable - gender identity notwithstanding.)
Grantland is one of the outlets that attempts a synthesis of these styles, and it's baffling to me that Hannan (who is only 31) didn't realize how inappropriate it was for him to out Vanderbilt, even in "private." It's even more baffling that someone on the Grantland staff didn't recognize this.
2) Justifiable concerns.
3) Irrelevant.
4) Tasteless, but honest?
(I don't know why I seem to want to believe that Hannan and Grantland didn't intend to out Vanderbilt while she was alive, especially after their bungling makes it clear that their grasp of trans issues is less a grasp and more some sort of half-hearted swat. I do though. I don't know if it's because I want to believe this all could have been avoided. Come to think of it, I don't know why I'm seeking a justification for this story to exist at all. My life would not be any different if this story had never been reported, but Vanderbilt may still be alive.)
It's also the only response Simmons can have in this situation. You may think it's a deplorable sentiment for Grantland to whitewash a death with this hackneyed idea, but what's the alternative? At a certain point, the phrase "blood from a stone" comes to mind. Grantland fucked up in a profound way. That's the thing about tragedy, it's profoundly pointless and people will do whatever they can to construct a meaning around it. Grantland (and the media at large) using this experience to ensure that something like this never happens again in the world of journalism doesn't in any way mitigate the loss of Vanderbilt's life, but it will hopefully serve as a sobering reminder of how journalistic intentions can have mortal consequences.
If you've somehow made it all the way through my drivel, I'd encourage you to read What Grantland Got Wrong - a piece by ESPN baseball writer and trans woman Christina Kahrl. She's a better writer than me and offers a real perspective on this issue.
Here is what I now know about Dr. Essay Anne Vanderbilt, inventor of the Oracle GX1 putter. She was born a boy on July 12, 1953, in Philadelphia. She was given the name Stephen Krol, a person who has not received degrees from MIT or the University of Pennsylvania. She has been married at least twice, and the brother of one of Krol’s ex-wives says Dr. V has two children, possibly more.This information may be pertinent to Hannan's investigation, but it isn't necessarily pertinent to the story of Essay Anne Vanderbilt, professional huckster. Also, a cursory viewing of any of the style guides for writing about trans people (which, in the wake of this, have been widely tweeted) would have immediately let Hannan know that the phrase "she was born a boy" is not appropriate.
(I am kind of interested to see how the language that we use when we talk about trans people evolves. "She was born a boy" contains an inherent disconnect between pronoun and noun, but functions as a piece of descriptive [if offensive] language. I wonder, as trans people and their stories become more integrated into the mainstream, if the rhetorical edifice that has been created around the group will begin to naturally erode? I suppose not anytime soon, especially as some of the more perverse denizens of the internet seem to take great joy in misusing pronouns solely for the purpose of hurting people. There's also the move toward gender neutral pronouns, which I don't see taking off, for no other reason than that people can't be bothered.)
Things get more complicated from there. Were I Hannan, I would probably have done my best to report the story without outing Vanderbilt or revealing her previous name, but he's already decided on his course of action.
She worked as general manager at Trax Bar and Grill, an LGBT bar in Kent, Washington. She was the subject of three separate harassment claims from her time there, including one from a male coworker who said she made “inappropriate comments about her breasts and genitalia.”Again, we have a seeming conflation of Vanderbilt's identity with her aberrant behavior. Relating these harassment claims themselves is a bit of an ethical quandary outside of the outing issue. Hannan is clearly painting a picture of an unstable person who is defrauding her investors, but are these misdeeds germane to his story? (I don't think they are, but I also don't think anyone would have attacked Hannan for publishing them if the story had just been about a shady inventor, with no mention of Vanderbilt's trans status.)
Hannan continues with some more pronoun waffling, but seems to be doing his best to use masculine pronouns when referring to Vanderbilt at the time she identified as male and feminine ones when she identifies as female. (Again, style guides say to always use the pronoun that the subject requests, but I don't think Hannan was being deliberately hurtful in this instance.)
The darkest discovery was something that occurred after Krol had decided to live as Dr. V. In 2008, she tried to kill herself with an overdose of prescription drugs and carbon monoxide poisoning from closing herself in a garage with her car running.What should have been a warning sign to Hannan about the potential destruction that his story could unleash instead turns into another chalk on the "Vanderbilt is Unstable" ledger. Upon realizing the depths of her troubles, he should have tried to find a graceful way to wrap up the story or spiked it.
(I'm not naive enough to believe any editor would spike a story like this.
[Also, this isn't to say that a history of self-destructive behavior is reason enough to stop reporting a story. In this instance, however, Hannan was reporting on what appeared to be a particularly at-risk person from a particularly at-risk group.])
What began as a story about a brilliant woman with a new invention had turned into the tale of a troubled man who had invented a new life for himself.Stop doing this, Hannan. Stop equating her deceit with her identity.
Things get even weirder once Hannan backs off of his quest to uncover Vanderbilt's past. He goes back and talks to the investors that he seems to believe he is protecting, and they all seem to like the putter and take no issue with Vanderbilt's fabrications. So this whole expose eventually comes to naught, which could have been a funny ending, if Hannan had just written about his obsessive quest to expose a fraud who didn't actually hurt anyone. Instead, he exposes Vanderbilt's trans status to her investor and provokes her further. Vanderbilt eventually breaks off contact.
Over the course of what was now eight months of reporting, Dr. V had accused me of being everything from a corporate spy to a liar and a fraud. She had also threatened me. One of the quotes I was able to type down during our last conversation was this: “You have no idea what I have done and what I can do.” It’s not all that menacing when transcribed, but her tone made it clear she believed she could harm me. Yet despite all that, the main emotion I felt while reading her desperate, last-ditch email was sadness. Although there were times when I had been genuinely thrilled with the revelation that Dr. V’s official narrative didn’t line up with reality, there was nothing satisfying about where the story had ended up. People had been hurt by Dr. V’s lies, but she was the person who seemed to be suffering most.Well, no one appeared to have been hurt in any lasting way, and any suffering imposed on Vanderbilt appears to have come from Hannan's prying. How much is related to her being exposed as a fraud and how much is related to her being exposed as trans, I can't say.
This doesn't excuse Vanderbilt's behavior. Had Hannan published the story without outing her to anyone, I would say that she earned any consequences that came her way. When you defraud people and agree to a story about said fraudulent enterprise, I can't blame a journalist for digging.
That's beside the point, though, as we'll never know what would have happened if Hannan had published that version of the piece.
Not long after she sent her email, I got a call from a Pennsylvania phone number that I didn’t recognize. It was Dr. V’s ex-brother-in-law, who represented the closest I had gotten to finding someone who could tell me what she’d been like in her previous life. “Well, there’s one less con man in the world now,” he said. Even though he hated his former family member, this seemed like an especially cruel way to tell me that Dr. V had died. All he could tell me was what he knew — that it had been a suicide.The fallout from Vanderbilt's suicide (and it's reveal) are handled almost clinically. Hannan wraps up his piece and that's about it. There's no mention of the high incidence of suicide amongst the trans community and no real soul-searching by Hannan about whatever role he may or may not have played. It just ends, and then the commentary begins.
Some of that commentary suggests that Hannan's story is the reason that Vanderbilt killed herself. This is reductive and a bad way to talk about suicide and mental illness. Suicide is a uniquely personal act, and, just as it would be unfair to blame Vanderbilt's partner for her previous attempt, so would it be unfair to blame Hannan for her death.
Beyond all of the points I made throughout Hannan's piece, the thing that most baffled me was that it seemed that no one at Grantland thought to ask for the input of a trans writer or editor. Grantland is bothersome in many ways, but it is an outlet that strives for inclusivity. That they wouldn't think to use this simple stop-gap truly baffled this blogger.
(I didn't know at the time whether they had any trans writers. I would soon learn that they do not, but ESPN as a whole does.)
Other points about the gross insensitivity of the piece stand, and as I read them, I somewhat morbidly awaited the official response from Grantland.
I truly had no idea what to expect, as deliverer of said response was to be Grantland's Editor-in-Chief Bill Simmons.
Simmons is an avowed bro who has never done any reporting in his life. He somehow ended up the head of the most prestigious of ESPN's many appendages with his scintillating insights into which 80s starlet Rajon Rondo most embodies. Why any outlet looking to do serious reporting would entrust him with editorial oversight is beyond my ken.
I was surprised by the thoughtfulness of his piece when it went up this afternoon.
In it, Simmons apologizes and offers up the best explanation that he can.
To be clear, Caleb only interacted with her a handful of times. He never, at any time, threatened to out her on Grantland. He was reporting a story and verifying discrepancy issues with her background. That’s it. Just finding out facts and asking questions. This is what reporters do. She had been selling a “magical” putter by touting credentials that didn’t exist. Just about everything she had told Caleb, at every point of his reporting process, turned out not to be true. There was no hounding. There was no badgering. It just didn’t happen that way.I have no way of knowing whether Simmons is telling the truth here, but if he is, I understand why Grantland and Hannan didn't seem to recognize how destructive the story could be to Vanderbilt. As far as Vanderbilt (and Hannan) knew at the time, the story wasn't going to out Vanderbilt.
Of course, Vanderbilt may not have believed Hannan when he claimed that he wouldn't out her. She may have seen his unearthing of her past as a violation of the "science not the scientist" agreement, and therefore been disinclined to trust him.
(I, personally, don't believe that Hannan violated said agreement when he researched Vanderbilt's credentials. He did not do so with malicious intent, and, when he discovered that she was a fraud, the story of the science and the scientist became inseparable - gender identity notwithstanding.)
Caleb’s biggest mistake? Outing Dr. V to one of her investors while she was still alive. I don’t think he understood the moral consequences of that decision, and frankly, neither did anyone working for Grantland. That misstep never occurred to me until I discussed it with Christina Kahrl yesterday. But that speaks to our collective ignorance about the issues facing the transgender community in general, as well as our biggest mistake: not educating ourselves on that front before seriously considering whether to run the piece.This is unconscionable and speaks to the worst parts of sports reporting. It's a male dominated field that, up until the past decade, was the bastion of the "moralist" using thinly-veiled codewords to perpetuate racist and sexist ideas that were really only tenable in the backward world of sport. Recently, it's been a field at war with itself, as the progressive voices doing battle with the fuddy-duddies are dismissed as illegitimate by established powers.
Grantland is one of the outlets that attempts a synthesis of these styles, and it's baffling to me that Hannan (who is only 31) didn't realize how inappropriate it was for him to out Vanderbilt, even in "private." It's even more baffling that someone on the Grantland staff didn't recognize this.
As we debated internally whether to run the piece, four issues concerned us. First, we didn’t know about any of the legal ramifications. That’s why we had multiple lawyers read it. Second, we were extremely worried — obviously — about running a piece about a subject who took her own life during the tail end of the reporting process. How would that be received externally? Was the story too dark? Was it exploitative? Would we be blamed for what happened to her? And third, we worried about NOT running the piece when Caleb’s reporting had become so intertwined with the last year of Dr. V’s life. Didn’t we have a responsibility to run it? The fourth issue, and this almost goes without saying: Not only did we feel terrible about what happened to Dr. V, we could never really know why it happened. Nor was there any way to find out.1) Don't lead with that, Bill. It seems callous.
2) Justifiable concerns.
3) Irrelevant.
4) Tasteless, but honest?
Maybe that should have been enough of a reason to back off. In fact, we almost did. Multiple times. We never worried about outing her posthumously, which speaks to our ignorance about this topic in general. (Hold that thought.) We should have had that discussion before we posted the piece. (Hold that thought, too.) In the moment, we believed you couldn’t “out” someone who was already dead, especially if she was a public figure.Not knowing that post-humous outing was wrong is ridiculous and stupid, but believable, and again leads me to think that neither Hannan nor Grantland had any malicious intent in reporting the story. This could be wishful conjecture on my part, and I acknowledge it as such. Simmons is also really stretching the definition of "public figure."
(I don't know why I seem to want to believe that Hannan and Grantland didn't intend to out Vanderbilt while she was alive, especially after their bungling makes it clear that their grasp of trans issues is less a grasp and more some sort of half-hearted swat. I do though. I don't know if it's because I want to believe this all could have been avoided. Come to think of it, I don't know why I'm seeking a justification for this story to exist at all. My life would not be any different if this story had never been reported, but Vanderbilt may still be alive.)
Whether you believe we were right or wrong, let’s at least agree that we made an indefensible mistake not to solicit input from ANYONE in the trans community. But even now, it’s hard for me to accept that Dr. V’s transgender status wasn’t part of this story. Caleb couldn’t find out anything about her pre-2001 background for a very specific reason. Let’s say we omitted that reason or wrote around it, then that reason emerged after we posted the piece. What then?Simmons is correct in saying they should have solicited input from the trans community. He's incorrect in saying that Vanderbilt's identity is a part of the story, had Grantland not reported it, Deadspin or some other blog would have eventually unearthed that part of it and Grantland would likely have been praised for doing the right thing in not reporting it.
Before we officially decided to post Caleb’s piece, we tried to stick as many trained eyeballs on it as possible. Somewhere between 13 and 15 people read the piece in all, including every senior editor but one, our two lead copy desk editors, our publisher and even ESPN.com’s editor-in-chief. All of them were blown away by the piece. Everyone thought we should run it. Ultimately, it was my call. So if you want to rip anyone involved in this process, please, direct your anger and your invective at me. Don’t blame Caleb or anyone that works for me. It’s my site and anything this significant is my call. Blame me. I didn’t ask the biggest and most important question before we ran it — that’s my fault and only my fault.I don't have much to add here. Simmons takes responsibility, but in a way that really has no consequences or meaning beyond being a symbolic act that any editor would do.
That mistake: Someone familiar with the transgender community should have read Caleb’s final draft. This never occurred to us. Nobody ever brought it up. Had we asked someone, they probably would have told us the following things …
1. You never mentioned that the transgender community has an abnormally high suicide rate. That’s a crucial piece — something that actually could have evolved into the third act and an entirely different ending. But you missed it completely.
2. You need to make it more clear within the piece that Caleb never, at any point, threatened to out her as he was doing his reporting.
3. You need to make it more clear that, before her death, you never internally discussed the possibility of outing her (and we didn’t).
4. You botched your pronoun structure in a couple of spots, which could easily be fixed by using GLAAD’s style guide for handling transgender language.
5. The phrase “chill ran down my spine” reads wrong. Either cut it or make it more clear what Caleb meant.
6. Caleb never should have outed Dr. V to one of her investors; you need to address that mistake either within the piece, as a footnote, or in a separate piece entirely.
(And maybe even … )
7. There’s a chance that Caleb’s reporting, even if it wasn’t threatening or malicious in any way, invariably affected Dr. V in ways that you never anticipated or understood. (Read Christina Kahrl’s thoughtful piece about Dr. V and our errors in judgment for more on that angle.)
To my infinite regret, we never asked anyone knowledgeable enough about transgender issues to help us either (a) improve the piece, or (b) realize that we shouldn’t run it. That’s our mistake — and really, my mistake, since it’s my site. So I want to apologize. I failed.It's here where I admit that I don't know what I would do if I had been Bill Simmons in this situation. Neither his publication, nor his writer, planned on or threatened to out Vanderbilt. Still, she killed herself, possibly due to pressure from Hannan's reporting. What do you do with the story now that she's dead? You could do what they did, you could spike it, or you could try to rewrite it tastefully. Honestly, none of those options really appeal to me.
So for anyone asking the question “How could you guys run that?,” please know that we zoomed through the same cycle of emotions that so many of our readers did. We just didn’t see the other side. We weren’t sophisticated enough. In the future, we will be sophisticated enough — at least on this particular topic. We’re never taking the Dr. V piece down from Grantland partly because we want people to learn from our experience. We weren’t educated, we failed to ask the right questions, we made mistakes, and we’re going to learn from them."Learning experiences" are often overvalued. It's a sentimental trick we play on ourselves to try to escape the shame of past failures. In situations where a life is lost, the "learning experience" maxim rings even more hollow.
It's also the only response Simmons can have in this situation. You may think it's a deplorable sentiment for Grantland to whitewash a death with this hackneyed idea, but what's the alternative? At a certain point, the phrase "blood from a stone" comes to mind. Grantland fucked up in a profound way. That's the thing about tragedy, it's profoundly pointless and people will do whatever they can to construct a meaning around it. Grantland (and the media at large) using this experience to ensure that something like this never happens again in the world of journalism doesn't in any way mitigate the loss of Vanderbilt's life, but it will hopefully serve as a sobering reminder of how journalistic intentions can have mortal consequences.
If you've somehow made it all the way through my drivel, I'd encourage you to read What Grantland Got Wrong - a piece by ESPN baseball writer and trans woman Christina Kahrl. She's a better writer than me and offers a real perspective on this issue.
Thursday, January 16, 2014
Things I Like of the Year (Twitter Edition)
When I was in journalism school, one of the big buzzwords was "content curation." Apparently, all of us were going to make a living finding and disseminating content, rather than coming up with it ourselves.
This seems to be a viable strategy if Buzzfeed and the various Buzzfeed clones are to be believed, but I'm not convinced it's a sustainable way for an entire generation of journalism students to find employment.
The reason it's not sustainable, of course, is because you really only need one content curator, if that curator has impeccable taste. He or she could be the lighthouse of the digital age, guiding us through the murky ebbs and flows of the world wide web.
Where could we find such a person, such a paragon, such a savior?
Look no further noble netizens, for I have revealed myself, Kyle, the once and future content curator.
Look upon these tweets with amusement and wonder, for I have traveled across the ages to bundle them for you.
Come, take a peak inside my stupid head. Please don't judge me for my weird sense of humor.
Here are some Twitter accounts that I liked from 2013 (and before and beyond):
Twitter Japesters
@wettbutt
ive done time. i was actually in a prison yard gang: the Prison Is Bad boys. we would show the guards our "i hate jail" tats...they HATED em
— John V (@wettbutt) January 13, 2014
[looks at sky] futile [looks at city] futile [looks at forests] futile [looks at awkward gif from television show] i believe in unseen order
— John V (@wettbutt) January 11, 2014
Tired of the rampant backstabbing going on online these days. just want fucking peace for earth but instead theres digital pain spreading
— John V (@wettbutt) January 11, 2014
John V amuses me because he uses the tools of internet culture to make fun of internet culture. In his tweets, he often references being owned online as if it's an actual thing worth caring about, pointing out the inherent absurdity of such concerns. His tweets make it sound like he despises the prevalence of irony (or at least what that word has come to mean in our current culture), but he doesn't necessarily traffic in sincerity (irony's chief rival), he's operating on another plane, post-irony. John V is at the forefront of the irony wars, he will one day pilot a mech constructed entirely out of Jonathan Safran Foer novels.
He also sometimes tweets earnestly about the work he does as music therapist, which is a cool thing to do and elevates him beyond joke robot status. He's partially responsible for The Subpranos.
@bransonbranson
if it was 10000 years in the past i would be so good at fighting others with axes and instead i gotta be like 'uhh yeah im a team player'
— BRANSON (@bransonbranson) January 13, 2014
Branson is cool because he's a big guy from Missouri with a beard and a puffy coat. He likes sports, which is also cool. I like the Appalachian flair that he brings to Twitter, it's a nice change of pace from bi-coastal know-it-alls. He also invented Teen Orc, which is one of my favorite twitter things ever. (Between when I wrote this [Wednesday night] and now, he posted this Teen Orc Retrospective, which is great.)
Characters
I like twitter characters because they give me something to follow when I'm at work and can't watch TV.
@dadboner
Havin' issues gettin' my snow business, "K-Money's Klean-up Krew" off the ground. Spray painted the initials on my coat. Kinda concerning.
— Karl Welzein (@DadBoner) January 10, 2014
Walkin' around the Flint area with KKK spray painted on your coat is like...well, it's like what it sounds like.
— Karl Welzein (@DadBoner) January 10, 2014
Have to wear my KKK winter coat inside out now. Can't zip it up that way so I have to pre-zip and pull it over. Takes 20 minutes to get off.
— Karl Welzein (@DadBoner) January 10, 2014
Sad-sack Karl Welzein is a pretty well known Twitter commodity at this point, so much so that creator Mike Burns has released a book based on the character. While Karl may have slowly devolved from a bored dad to a self-destructive idiot, there's still something inspirational and true in his perpetual belief that K-Money Welzein will overcome his sad station and actualize his inner rockstar, only to thwart himself by jettisoning these dreams as soon as he finds a distraction. Karl is America.@love_that_goku
one year ago i was on top of the world i hit the police w/ my car look at me now i reside in a toyota camry
— love_that_goku (@Love_that_Goku) November 12, 2013
Goku had a beautiful home and look at me. living in a car with my uncle and his androgynous thundercat wife
— love_that_goku (@Love_that_Goku) November 12, 2013
i am concerned Small Christian is struggling to pack on muscle mass. I must get him up to 30 lbs before he turns 11 months
— love_that_goku (@Love_that_Goku) January 15, 2014
i need to get Small Christian on a strict protein based diet but my sister watches him very closely
— love_that_goku (@Love_that_Goku) January 15, 2014
i shall sneak him hotdogs while his mother slumbers
— love_that_goku (@Love_that_Goku) January 15, 2014
Love_that_goku (aka Christian H.) is a teenage immigrant from South America who aspires to be Goku from the seminal, glacially paced anime Dragon Ball Z (also Dragon Ball and Dragon Ball GT). His quest for power has led him to allegedly burn down his neighbor's house, attempt to sabotage his Quantum Leap loving uncle's wedding and leave his infant nephew in the woods in order to build strength in the child. The only thing that rivals Christian's passion for DBZ is his hatred of the police, which led to several confrontations between he and the local police force. He was also once cyber-bullied by Blues Traveler.
i am being cyber bullied by blues traveler
— love_that_goku (@Love_that_Goku) August 12, 2013
My favorite thing about Christian is his overwhelming positivity in the face of adversity.
when life seem tough you can think of my words: you have an endless supply of potential, you are strong+brave. you look great
— love_that_goku (@Love_that_Goku) June 2, 2013
The guy that runs this account, Lucas Gardner, has a couple of other funny characters, but none touch me like this young warrior from Ecuador (I think that's where he's from).@PFTCommenter
goign from watching Kapernick verse Newton 2 Manning verse Brady is like going from reading Chingy album liner notes 2 reading the Bible IMO
— PFTCommenter (@PFTCommenter) January 13, 2014
if sean payton really wanted 2 make New Orleans seem like Seattle he should of just started a litracy campiagn
— PFTCommenter (@PFTCommenter) January 8, 2014
PFTC started as a little joke account mocking the thinly veiled racism and general backwards-ass nature of the commenters on Pro Football Talk, but his empire has quickly grown to the point where he's regularly posting editorials on both SBNation and Kissing Suzy Kolber. Whoever runs this account is a genius and regularly pulls transcendent pop culture references into his idiotic breakdowns of NFL action. My favorite PFTC joke is either when he described Jeff Garcia as a "Gruden Grindr" or, after a game in which the Patriots lost on a close call to Carolina and Tom Brady chased the refs into the locker room, he said that it may have been a "stand your ground situation" if Cam Newton had tried to do the same thing.Real People
@jon_bois
i now declare the mlb hot stove open for business! it will be interesting to see who will make some moves … and who will be hung out to dry
— Jon Bois (@jon_bois) January 15, 2014
i truly feel that 2014 will be known as the year of consumer tech
— Jon Bois (@jon_bois) January 13, 2014
Jon Bois is a writer for SBNation from Louisville. His tweets are charmingly silly and direct, kind of like a sports and pop culture takes through the mind of a child or a web-savvy grandfather. When he's not tweeting goofy jokes, he does Breaking Madden and manages SBNation's vast archive of GIFs. He also invented SupperJumpin'.@emilynussbaum
Do bad guys in real life really lick their victims? Who invented this sinister gesture?
— emilynussbaum (@emilynussbaum) January 14, 2014
There is no grosser corporate buzzword than "content."
— emilynussbaum (@emilynussbaum) January 13, 2014
I mean, I get that people need something to refer to everything from books to TV shows to Vines to tweets to Cronuts, but it is so sinister.
— emilynussbaum (@emilynussbaum) January 13, 2014
Emil Nussbaum is the television critic for the New Yorker. Her tweets don't often make me laugh, but she's far and away my favorite TV critic. It helps that she's not hamstrung by having to do weekly recaps like my two other favorite critics (Todd VanDerWerff [@tvoti] and Alan Sepinwall [@sepinwall]). It probably also helps that we have nearly identical tastes. She was the first proponent of the "Bad Fan" Breaking Bad theory and she's one of the few public defenders of unfairly maligned shows like The Mindy Project and unfairly ignored shows like It's Always Sunny in Philadelphia. She's also quite chatty with her readers on Twitter, which I always appreciate.@TCUCoachP
#recruitingisheatingup
— Gary Patterson (@TCUCoachP) January 16, 2014
Great pass rushers!RT @GoogleEarthPics: Transient Bigg's Orca on the Move, Marina Island, Canada #EarthPics http://t.co/Dn4ALlyy0V
— Gary Patterson (@TCUCoachP) January 10, 2014
On the sideline, TCU head coach Gary Patterson looks like a humorless orb of defensive acumen. On Twitter, however, he is perpetually delighted by pictures of animals moving in ways that remind him of his gridiron pupils. While colleagues Kevin Sumlin and Steve Sarkisian take a slightly more understated approach to announcing new commits on twitter (tweeting "yessir" and "woof woof" respectively [though now that he's at USC, I don't know what Sark will tweet, judging by his proven tendency to stick with the same thing over and over, probably "woof woof"]), Coach Patterson knows that subtlety is just another tool of the deceiver, and instead chooses the phrase "#recruitingisheatingup." It may be patently silly, and also potentially violate NCAA bylaws regarding social media, but CGP is nothing but a straight shooter. Just look at his response to haters.
YesRT @OKStateProbs: Is there a school in Texas that plays defense?
— Gary Patterson (@TCUCoachP) January 2, 2014
:)RT @perfectbabies: Christmas puppies! pic.twitter.com/ls1M3IIqT5
— Gary Patterson (@TCUCoachP) December 14, 2013
It is impossible to dislike this man.@UT_MackBrown
Prior to Mack Brown resigning as the head coach of the Longhorns, his Twitter account was filled with useless inspirational coaching pablum like this.
“When you’ve got something to prove, there’s nothing greater than a challenge.” – Terry Bradshaw
— Mack Brown (@UT_MackBrown) December 3, 2013
I can only imagine this was because someone like Nick Voinis in the athletic department was handling Mack's social media duties. Now that he's divested himself of his duties as a head coach, Mack's Twitter is genuinely spectacular. From live tweeting the MNC game and the Golden Globes, to these weird genuine bursts of human enthusiasm, Mack has become a must follow.
Never been to a tail gate before. That will be fun. I could learn to like that
— Mack Brown (@UT_MackBrown) January 9, 2014
Just having some fun! That's ok. We all need to have more fun
— Mack Brown (@UT_MackBrown) January 9, 2014
Twitter is fun when used right. Thx for joining in
— Mack Brown (@UT_MackBrown) January 9, 2014
Congrats to my great friend Matthew Mc on his Golden Globe for Dallas Buyers Club. Great movie. He is the Best. Love U my friend
— Mack Brown (@UT_MackBrown) January 13, 2014
Mack is like Wall-E (the robot from the film Wall-E), he's spent the past 30+ years as a football automaton, and now we're watching him rediscover his humanity online. He's got good taste in TV too.
We all enjoyed Friday Nights Lights. Kyle Chandler is a great actor & man. Miss the show & look to his future acting pic.twitter.com/jCINurTJAj
— Mack Brown (@UT_MackBrown) January 12, 2014
Even his inspirational doofiness has improved.
"I've learned that something constructive comes from every defeat." Tom Landry
— Mack Brown (@UT_MackBrown) January 15, 2014
Love all Coach Landry stood for but would still rather win and be less constructive. Ha!
— Mack Brown (@UT_MackBrown) January 15, 2014
He's appropriated Karl's trademark "Ha!" at the end of tweets. How did we ever fire this man?
@kyleagregory
I have a zit on my back.
— kyleagregory (@kyleagregory) January 4, 2014
I am the best at Twitter.
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