Monthly Archives: May 2018

The Conflicted Brilliance of S-Town

 

For 38 years, Hollywood has drawn a bead on a film version of A Confederacy of Dunces, the Pulitzer-prize winning novel by John Kennedy Toole.

John Belushi was first set to play Ignatius J. Reilly, the ragin’ Cajun antihero of Dunces, but Belushi died of a drug overdose before shooting began. Same for Phillip Seymour Hoffman, the heir-apparent.  Will Ferrell could not survive studio rights disputes, which doomed the most recent revival attempt.  Nick Offerman came closest, playing the lugubrious lout onstage. 

But Ignatius remained something of a broadcast Bigfoot: an elusive creature as lovably loathsome as Royal Tenenbaum, but with a drawl and pet bird. Set in Louisiana, Dunces was that rare Southern Gothic tale that resisted retelling, at least electronically.

That’s a shame for Hollywood, which was beaten to the punch by Shit Town and its real-life antihero, John B. McLemore. Downloaded more than 70 million times, S-Town (as it’s known on Apple’s family-friendly podcast store) became the most downloaded podcast in history. Last winter, NPR compiled a list of 2017’s greatest podcasts — “that weren’t called S-Town.” It won the Peabody award for podcaster Brian Reed.

It would be hard arguing with the accolades heaped upon S-Town, or the acolytes heaping them. For a New York-based podcast (and podcaster), S-Town has a keen understanding of the language of the contemporary South and its inhabitants, who seem both bitterly resigned to the dismissal of twang while maintaining a rebel yell affection for the stereotype. I spent years as a reporter in Arkansas, and I can say, without bias: It’s plain weird to listen to a brilliant huckleberry. Mesmerizing, but weird.

If the seven-part podcast (which is, essentially, a return to radio theater) has a failing, it’s this: S-Town doesn’t know where it came from. The interstate exit may say Woodstock, Alabama. But those aren’t S-Town‘s roots. A Confederacy of Dunces is. That Reed never drew the parallel (or chose not to draw it) is an odd oversight.

But it’s impossible not to see the resemblance. Consider just a few quotes from the book, which oozes Ignatius’ hysterics, hypocrisy, arrogance and lumbering charm:

“Is my paranoia getting completely out of hand, or are you mongoloids really talking about me?”

“What I want is a good, strong monarchy with a tasteful and decent king who has some knowledge of theology and geometry and to cultivate a Rich Inner Life.”

“I am at the moment writing a lengthy indictment against our century. When my brain begins to reel from my literary labors, I make an occasional cheese dip.”

“Stop!’ I cried imploringly to my god-like mind.”

“Employers sense in me a denial of their values … they fear me. I suspect that they can see that I am forced to function in a century which i loathe.”

“I avoid that bleak first hour of the working day during which my still sluggish senses and body make every chore a penance. I find that in arriving later, the work which I do perform is of a much higher quality.”

McLemore’s rants are no less eloquent — or arrogant, abusive, hypocritical, insightful and beautifully hideous in their stark bravado:

“We ain’t nothing but a nation of goddamn chickenshit, horseshit, tattletale, pissy-ass, whiny, fat, flabby, out of shape, Facebook-looking damn twerkfest, peaking out the windows, and slipping around, listening in on the cellphones and spying in the peepholes and peeping in the crack of the goddamn door, and listening in the fucking sheet rock. You know, Mr. Putin, please show some fucking mercy. I mean, come on, drop a fucking bomb, won’t you?

I gotta have me some tea.”

But the real missed connection between book and podcast are their reliance on suicide. Toole’s book was published in 1980, after his mother found the manuscript following her son’s death. MAJOR SPOILER: S-Town, meanwhile, becomes less of a who-dunnit than a who-was-he after McLemore committed suicide by drinking cyanide.

And it’s here that S-Town owed Ignatius a nod. In the final ten minutes of S-Town, Reed recites an extended excerpt from John B.’s suicide note, which was found on the clock repairman’s computer. Some of it is transcribed here:

“I have not lived a spectacular life. But within my four-dozen-plus years, I’ve had many more hours to pursue that which I chose, instead of moiling over that which I detested.

I have coaxed many infirm clocks back to mellifluous life. Studied projective geometry, and built astrolabes, sundials, taught myself 19th-century electro plating, bronzing, patination, micro-machining, horology, learned piano. Read Poe, De Montpasa, Boccaccio, O’Connor, Welty, Hugo, Balzac, Kafka, Bataille, Gibran, as well as modern works by Mortimer, Hawking, Kuntsler, Klein, Jacoby, Heinberg, Hedges, Hitchings, and Rhodes.

But the best times of my life I realize were the times I spent in the forest and field. I have walked in solitude beside my own babbling creek, and wondered at the undulations, meanderings, and tiny atolls that were occasionally swept into its midst. I have spent time in idle palaver with violets, lyre leaf sage, heliopsis, and monkshood. And marveled at the mystery of monotropa uniflora. I have audited the discourse of the hickories, oaks, and pines, even when no wind was present. I have peregrinated the woods in winter, under the watchful guard of vigilant dogs, and spent hours entranced by the exquisiteness and delicacy of tiny mosses and molds: entire forests within a few square inches.

I have also run thrashing and flailing from yellow jackets. Before I could commence this discourse, I spent a few hours out under the night sky reacquainting myself with the constellations, like old friends. Sometimes I just spent hours playing my records. Sometimes I took my record players and CD players apart just to peek inside and admire the engineering of their incongruous entrails. Sometimes I watched Laverne and Shirley, or old movies, or Star Trek. Sometimes I sat in the dark and listened to the creaking of the old house.

I have lived on this blue orb now for about 17,600 days. And when I look around me and see the leaden dispiritedness that envelops so many persons both young and old, I know that if I die tonight, my life has been inestimably better than that of most of my compatriots. Additionally, my absence makes room, and leaves some resources for others, who deserve no less than I have enjoyed.

I would hope that all persons reading this can enjoy some of the aspects of life that I have enjoyed, as well as those aspects that I never will, and will take cognizance of the number of waking days he has remaining, and use them prudently.

To all that have given so much, much love and respect, John B. McLemore”

Just as Dunces became a national curiosity, so too has S-Town. Thousands flock to the stoplight town to visit McLemore’s Shining-like hedge maze. They line his tombstone with fire-gilded coins, a perilous gold-plating process that may have slowly given McLemore mercury poisoning. The wife of the Woodstock mayor holds informal counseling sessions out of her home for the depressed.

So before Hollywood screws it up: A toast to the antihero, the South, god-like minds and gold-plated dimes. Keep railing, y’all.

https://www.youtube.com/watch?v=kn35cPy5mCI&t=1883s

Sorry for the Mean, Horrible, Accurate Things I Said

Today’s Factslaps come courtesy of John B., who’d like you to know you’re a bunch of, well, he’ll tell you later. All best, bitches.

  • The largest print photograph ever taken was 111 feet wide and 32 feet high.
  • The term “pipe dream” is a reference to the insane dreams people have when smoking opium.
  • Eight men own the same wealth as the poorest half of the world.
  • In Bolivia, llama droppings are used to purify water.
  • MIT sends out college acceptance notices on Pi Day, 3/14.
  • Before he was a famous musician, Johnny Cash was a military code breaker for the US Air Force.
  • Even though Froot Loops are different colors, they are all the same flavor.

Westworld’s Ctrl+Alt+Del Glitch

 

Westworld was one of those rarities in Hollywood: Entertainment that lived up to its stratospheric hype.

As beautiful as Game of Thrones and as brainy as the first season of True Detective, Westworld reaped the reward of zeitgeist, as its arrival timed nicely with the public’s surging interest in Alexa, Google Home, Siri — and the requisite debate over Artificial Intelligence.

And Westworld timed it all with the precision and thunder  of a  two-handed slam by Lebron James (another phenom who equaled expectations). You didn’t know who was human and who was human-ish. Which stories were real and which were just plotlines. The first season held its own against HBO debuts like The Sopranos, The Wire and Sex and the City. All had second seasons demonstrating freshman year was no fluke.

Alas, Westworld finds itself in a sophomore slump, one of its own design.

Who, exactly, are we supposed to root for in the second season? Season 1 (spoiler alert) culminated in a terrific finale as the machines became self-aware — and bent on revenge on the humans who imprisoned them in the futuristic theme park. It was a great story the first time around (the original movie came out in 1973) and proved just as powerful in the reboot.

Now, however, the show is lost for a hero. Is it the woman leading the cyborg onslaught? The humans who created the victims? Every story needs a reason to care about it. But Westworld still seeks a motivation beyond bloodlust (and the battles are bloody. And often nude.).

The problem is in Westworld‘s primary genetic design. It doesn’t lend itself to long format storytelling.

This is true for all films that rely on a shocking reveal. There’s a reason there was no sequel to The Crying Game (whose hero turned out to be a woman) or The Sixth Sense (whose hero turned out to be dead). Oh yeah, spoiler alerts. Those films realized that when you fool an audience the first time around, you get a more skeptical audience with each new chapter.

And that suspicion is powerful. It nearly ruined the career of M. Night Shyamalan, whose penchant for pulling the rug from under audiences’s feet became the bane of his career. Blade Runner 2049, the much-hyped sequel to the 1982 classic, collapsed under the same “fool me once” strategy. Ridley Scott’s sublime original left us to wonder who was human and who was a “skin job.” But those doubts left last year’s film an unmitigated failure: It cost $150 million and recouped only $92 million.

Westworld‘s own history suggested it was spawned in a troubling loop. MGM tried to milk the original franchise, launching a sequel, Futureworld, and a TV show, Beyond Westworld. The sequel was a critical and commercial flop, never recovering its  $2.5 million budget. The TV show lasted five episodes before it was canceled.

This doesn’t necessarily doom the new iteration. After all, the series smartly recruited Jonathan Nolan, whose short story brother Chris turned into Memento. That story, too, would never warrant a sequel. As in real life, once you learn characters aren’t who they say they are, you’re less likely to invest in their interests.

We get the Westworld message: Artificial intelligence will adopt the same failings as its human architects. But that also means your robots must face larger ethical issues than how to exact revenge. It’s not enough to be self-aware; you must make moral decisions based on that awareness.

And right now, you can’t help but be aware that Westworld’ one-trick pony act needs to learn new stunts.