Saturday, April 18, 2009

"Only Begotten Son" (fiction)

[I wrote this story, oh, a little more than a year ago, if memory serves. For those who know me, well -- yes, this tale delves into some dark areas for me. I post it here in its entirety. It's not as long as some of the other works I've posted here in the past.

Also, New Mowbray is the fictional city in which I like to set stories from time to time. It's located in Michigan, on the Eastern coast of the Great Lake of the same name. Basically, it's my way of using Buffalo as a location without having to be totally true to Buffalo locales. Two stories of mine that have previously appeared on Byzantium's Shores, "Elizabeth and Andrew" and "In Longhand", are set there.]


"Whoever saves one life, saves the world entire."
-the Talmud


Alison burst through the front entrance of Our Lady of Eternal Hope Hospital and rushed for the bank of elevators left of the information desk. Already late, she only had time to take in a whiff of the coffee aroma from the little espresso bar inside the front door. Maybe later, she thought as she jumped aboard an elevator whose doors, in her first lucky break of the day, hadn't closed yet. She hit the button for the fifth floor, moved to the side of the car, dropped her purse and tote bag on the floor, removed her coat, tied back her hair, hooked her ID badge on its retracting cord to her waistband, grabbed her stethoscope from the tote bag, looped it round her neck, and scratched the annoying pimple on her right shoulderblade just below her bra strap. She did all this in one honed-over-many-elevator-rides motion, and only invaded the personal space of two other passengers in doing it.

At the fifth floor Alison disembarked the elevator and turned left, away from surgery and orthotics, toward the Neonatal Intensive Care Unit, where she was a nurse. Even though she was late she did not run, owing to the two people shuffling along the hall in the same direction. There was such a thing as decorum, and it wouldn't do for a NICU nurse to appear desperate before two parents whose child she'd be spending the next twelve hours keeping alive. The mother was in her hospital gown and leaned on her husband's shoulder in the way of a woman three days past her C-section. One intern last year had described that gait as "the perp walk". That intern's NICU career had been brief. Parents were as important as babies, and those who failed to realize that were of no use here.

Alison swiped her ID badge through the card reader, opening the automated door into the NICU, where she dropped her stuff at the break room before joining the rest of the staff for evening shift change.

"So we're all here now," Dr. Franks said loudly enough to dig but not quite loudly enough to constitute a rebuke. "Shall we?" Alison fell in beside Mary Danford, one of the other nurses who would be on call this evening, as they headed toward Pod A. The NICU was divided into five "pods", which were rooms separated by walls and glass doors, each of which containing four "beds", only these weren't beds at all; most were isolets, with a couple of regular cribs distributed throughout.

"You'd think ten years and they'd be done building the GRF," Alison said in response to Mary's unspoken question. The Gerald R. Ford Highway was a main commuter route in New Mowbray, and some part of it was always under contruction.

"There are other roads, you know," Mary said.

"Draw me a map," Alison replied. Her lack of direction-sense was often a source of humor.

"How about the bus?" Mary asked as they stepped aside at the door to allow the cleaning lady, a tiny Puerto Rican woman named Flor, back out.

"How about the bus?"

"I'm not carrying a car payment so I can ride the bus."

Into Pod A they went, where Dr. Franks was getting started over at Bed 1, while his relief, Dr. Sandoz, was thumbing through the chart.

"Ashley's had a good day," Dr. Franks began. He'd been through twenty-four hours on duty and looked the part. Dr. Sandoz, however, bounced a lot on the balls of his feet and twirled a pen in his fingers. No doubt he was on his fourth cappuccino, at least. "She's producing more urine now, and her respiration is a bit more regular. For now we're still monitoring, but the ventilator isn't really doing any of the work for her. Little David over here has had a tough day, though...." And on to Bed 2.

In the NICU, things were pretty much like any other intensive care unit. Some patients left in better shape than when they came in; others left worse and some only left in the arms of angels. What was different here was the preciousness of those patients, their frightening fragility. The most innocent of us all, some were born too early to live without help while others were born at the right time but were somehow damaged.

Alison glanced out into the corridor, where the parents she'd passed in the hall were waiting. They'd be allowed in to see their child as soon as the shift change was over. The look on their faces was the same as it always was on parents up here, no matter what afflictions the babies suffered. In the mothers' eyes, Alison would always see the same mix of fear and love and sorrow and wonder. In the NICU, motherhood could end in mere hours, with the poor woman being escorted from the side of the only bed their child would ever know, their shoulders draped by the arm of one of Our Lady of Eternal Hope's chaplains.

Up here, you were a nurse for an entire family.

That night there was Jessica Grey, who was doing quite well now for having been born six weeks early; she would probably go home in another day or two. Less fortunate was Michael Conrad, who'd been born at full term but had presented signs of distress moments after birth. It had slowly become clear that he had somehow suffered brain damage and faced a life of disability. Josie DiMarco was the worst case of jaundice anyone had ever seen at Our Lady. Christina King and Marcus O'Donnell were the newest of the preemies, both born just the night before at twenty-seven weeks and both hanging by the thinnest of threads. And the twins, Jason and Jacob Williams, were still hanging in there. Their problem was genetic, an accident of being born of two parents whose enduring love was impotent in the face of chromosomal biology.

In this manner the days nurses and doctors handed off the responsibilities to the night shift, and then they let the parents come back in. Alison made a cup of coffee and then went to start Brittany Murphy's next feeding.

***


Nineteen hours later, Alison drained her sixth cup of coffee. She was sitting at the main desk, catching up on chart work when Mary came over and plopped down in the chair beside her.

"Josie's looking less yellow," Mary said.

"Well that's good news," Alison replied. "Quiet night."

"Been a while," Mary said. "So, did that boyfriend of yours get in all right?"

"He's staying an extra day," Alison said. "More meetings."

"Gotta hate those 'impromptu' meetings."

"Yeah. Oh, hi, Flor."

Flor, the cleaning lady, was on her nightly rounds, pushing her cart of cleaning supplies. "Hello, Nurse Jeffers," she said. "You look tired."

Alison laughed. "I'm always tired."

"More than normal," Flor said. "You should take vacation."

"Sure," Alison said. Flor was sweet. She was working her way through night school for...something, Alison couldn't remember what. Something that would mean that maybe one day Flor would be able to afford a vacation. "Maybe I could go to--"

She was interrupted by the ringing of the telephone. As she picked it up, Flor smiled and went on her way. "We'll be ready," Alison replied to the person on the phone and hung up.

"Incoming?" Mary asked.

"Incoming," Alison said. "Pod C, bed three."

They moved quickly to get things ready for the baby who'd be here momentarily from Labor and Delivery, five floors below.

***


It had been two hours, and Ethan Bly wasn't even close to breathing on his own. He'd been on the vent since about two minutes after he'd been taken from his mother's belly in an emergency C-section. His Apgar score was two out of ten, and that was scoring liberally. Ethan's skin was pale and tinged yellow. His ears looked like they were on sideways, a sign of the difficult delivery. That would correct itself in time. Everything else that was likely wrong with him? Probably not.

In the space of two hours, Ethan crashed three times. Each time they got him back. In cases like this, Alison was never sure if the babies were meant truly to live or die. When they got him back the third time, Alison happened to glance away, through the glass door of Pod C into the NICU corridor. Flor was standing there, staring back at her, her eyes wide and her face pale.

Only later would Alison remember how, at that moment, Flor held her hands over her lower abdomen.

***


"Who brewed the coffee this morning?" Mary asked.

"Janet," Alison replied.

"You didn't warn me?"

"You didn't notice that I'm drinking tea?"

Mary shrugged, and Alison went back to filling in more of the notations in little Ethan's chart. He'd made it eight days now, but only through the miracles or curses of modern medical technology that could preserve some definition of life that didn't match anyone else's.

Today was Wednesday; it was almost eleven in the morning. In just a few minutes the two doctors who'd been on duty for just about all of Ethan's life would be meeting with his parents to discuss their two, and only two, options: a mockery of life for Ethan, or no life at all.

"Did you see Josie's weight this morning?" Mary asked.

"Sure did. She's a fighter, that one." Alison took a sip of her tea. "Gonna be trouble for the boys."

"Oh yeah." Mary gestured to Flor, who was gesturing into Pod C, across from the nurses' station, indicating that it was time for daily cleaning. "Oh, go ahead, hon. The coast is clear."

Flor nodded and went into Pod C, her cleaning towel and spray bottle of window cleaner in her hand.

"So how are Rick and Amy doing this week?" Alison asked. Mary grunted.

"Same as always. Rick's pissed at his boss, and Amy's not going on that ski trip if she doesn't get that geometry grade up."

"Still not getting the congruent triangles?"

"Who knows? I had terrible grades in geometry too, but don't tell Amy that."

"Sure."

After a few more minutes of such conversation, Alison stacked up her paperwork and rose to her feet, which had only just stopped aching minutes before. "I'd better go check on the boys," she said. That would be the three patients in Pod C: preemie Matthew Hooker, generically unhealthy though soon-to-go-home Trevor Marks, and poor hopeless Ethan Bly.

When she entered Pod C, Alison found that Flor hadn't finished cleaning. In fact, she hadn't even started. She was standing over little Ethan's isolette.

"Flor?"

"Oh!" Flor jolted around with a start, nearly knocking over the supplies on the table beside Ethan's station as she swung her glass cleaner about. "Forgive me, Nurse Forster," she said. "I am sorry – I know I shouldn't be here --"

"It's all right," Alison said. "I won't report you. But you know that you're not supposed to be looking at the patients."

"I know," Flor said. "But this one is so helpless. I can see it."

As before, Flor drew her hands across her stomach, down low.

"You're right, he is helpless," Alison said. Then, not knowing why, she added: "He is in God's hands, not ours."

"The finest hands of all," Flor said. "Nurse Forster, would it be all right if I said a prayer for this child?"

Alison's brow furrowed. Such a simple request, after all, and yet she'd never known a member of the cleaning or maintenance crew to become concerned with the patients. Not that they were uncaring, of course, but that they were trained to do their jobs as quickly, quietly, and as unobviously as possible. Their jobs were to get in and get out without being seen. And yet...it was a request to offer a prayer for a sick child.

"We never discourage prayer at Our Lady of Eternal Hope," Alison finally said. She touched Flor's shoulder, and then she turned to look in on little Matthew as Flor began to whisper in prayer.

Something about that moment would stick in Alison's mind for the rest of the shift. It was only when she was driving home the next morning that she realized what it was. Perhaps it was because she hadn't heard it since taking a single semester of it in school years before that she didn't immediately recognize the language of Flor's prayer, not as Spanish, but as Latin.

***


The decision was made, as it always was. One of the hospital Chaplains, Father Duffy, was called in to the NICU to provide the saddest of services that a hospital Chaplain at a Catholic hospital. At two o'clock in the afternoon, little Ethan Bly's family arrived: Robert the father, Jennifer the mother, and Hannah, the beautiful and brave older sister who was taking the day off from first grade to watch her baby brother die.

They all gathered around the isolette as Father Duffy began reading the Last Rites. Then, as tears ran hot down the cheeks of the Bly family and the nurses gathered round, Dr. Richter unhooked Ethan's breathing tube and deactivated the machinery to which he was connected. Alison stood by, pen and chart in hand, ready to note the time of death.

But little Ethan did not die.

***


No one had any explanation for it. How could they? What possible explanation could there be? How could anyone ever explain the spontaneous regeneration of brain tissue? It wasn't supposed to be possible. Every organ in the body could heal, every organ but one – and little Ethan Bly had been born with just enough healthy brain tissue to not die outright. Now, though, he was healthy. He cried, he began nursing, he did all the things a baby is supposed to do. And no one could figure out why. Over the next week, little Ethan Bly became the center of the medical world as doctors and scientists descended upon Our Lady of Eternal Hope from all over the world. So too did priests and clergy from all faiths. Ethan Bly, the miracle baby.

After a couple of weeks, the hospital could not find any real way to justify keeping Ethan in the NICU for any longer, so he finally went home, carried in his mother's arms to the car, where he was nestled into his infant car seat. It was the most normal of scenes, if you don't count the hundreds of news photographers taking shots of the least likely homecoming of all.

Of course, the news cycle moved on as it always did, but the healing of Ethan Bly was still of enormous import, and everyone connected with his case knew that it would be discussed for years to come. Alison herself did a couple of print interviews, but rejected invitations to go on Oprah or any other TV shows. Eventually the furor died down, and life returned to normal for the nurses and doctors of the NICU – except that Alison would look at Flor, and wonder just what prayer she had said that afternoon.

***


Two months later Alison arrived for her shift just in time for Dr. Franks to rush through shift change. His day wasn't ending, after all; he had to spend the next six hours or so sitting in on meetings with doctors and researchers who had come to study the case of Ethan Bly. As soon as shift change was over, Alison went into Pod B to give little Abby Rhinehart a bath. She was doing well, and she'd be going home soon.

"I went to Mass the other day," Mary said. She was one bed over, giving David Reisner his morning feeding. "First one in a year. My Mom's been after me to go."

"Moms are like that," Alison said. "There there," she added in a hushed whisper to baby Abby, who was squirming a bit.

"Your mom, too?"

"About some things, yes. Not about church. She gave that up years ago."

"What things?"

"Marriage."

"Oh, yeah. Well, don't get yourself into any rush, because that won't stop just because you get married."

"I figured. There you go, sweetheart." She was drying Abby off now; Abby was beginning to fuss. And then there was a knock on the sliding glass door.

"Is it OK to clean?" Flor asked, sticking her head in the door.

"Come on in," Mary said. "But we haven't really had time yet to mess things up much."

Flor nodded, ducked out, and came back in with Windex, cleaning cloth, and a few trash bags in hand.

"Wow!" Mary said. "You're really showing now!"

Alison glanced over, and sure enough, Flor's belly was growing nicely. "Six months?" she asked.

Flor put a hand on her belly and smiled, blushing all the while. "Six months."

"You're looking beautiful," Mary said. Flor blushed again and headed for the windows. She was looking beautiful, as mothers-to-be always did.

"So how was Mass?" Alison asked.

Mary shrugged. "I don't know. I keep waiting for God to speak, but I guess I'm not there yet."

Alison nodded as she put Abby's diaper back on.

"Still," Mary went on, "I've been reading my Bible again. I'm thinking that in my next confession I should tell Father Jeffries that the Old Testament makes God look bad."

Behind them, Flor chuckled. Glancing back, Alison saw that Flor was smiling. She turned back to Mary. "Do you ever wonder why now?" Alison asked.

"Why now, what?"

"Why are you going to church now? We've been up here in the NICU together for six years. Why now?"

Mary was silent for a moment, and then she shook her head. "Maybe I'm getting older. Maybe it was Ethan Bly. Is there a better way to explain him, other than God?"

Alison had no reply to that, even though she'd been thinking in much the same way all along. The only difference was that so far, her own thoughts had not yet led her to God.

Flor passed by again, having finished her work for now. She was lightly caressing her pregnant belly as she exited the Pod. For no reason, Alison thought back again to Flor praying over little Ethan Bly.

A fairly uneventful week went by after that – a week which ended with the arrival in the NICU of little Rosa McKinley.

***


Lakesha McKinley had been young, bright, and pregnant. She'e been working had at a secretarial job and taking classes at night, while her new husband worked just as hard at the auto-body shop he'd opened with a generous loan from his father. Lakesha had been determined to make her baby's life better than hers had been.

That night she had just reached the six-month mark in her pregnancy, and had gone out with some friends. They drank, she didn't. She was conscientious. She did the right thing. She wouldn't do anything to jeopardize the precious life inside her belly.

Sometimes, though, the decision isn't ours to make.

At 10:38 p.m., Lakesha had been on her way home when she'd made a right turn onto Wilson Blvd. It had been a perfectly fine turn, and she'd had the green arrow all the way. Seconds later Lakesha took the brunt of the impact when Chris Whitford, who'd been tying one on at the very same bar, plowed his car right into hers.

The ER had all they could do, keeping Lakesha and the two others in the car from dying. In the midst of all that, her baby came, three months early, and injured as well. The baby came up to the NICU, but it was clear to everyone that the child would die quickly, probably within hours. Lakesha was still unconscious in surgery. She would awaken to learn that her child had been born, lived, and died without ever having even been named. A girl.

Mr. Whitford, the drunk driver, suffered only bumps and bruises. He'd pay a heavy price with his driving license. Lakesha McKinley was marked to pay a different price.

It was Alison's job to stand watch over Lakesha's child, little Baby Girl McKinley. She was the only child in Pod C that night, strangely enough; that was rare in itself. Alison sat beside the isolette, monitoring Baby Girl's ventilator-assisted breathing and making notations in the chart. More than once Alison found herself just gazing at Baby Girl's wrinkled, deeply dark skin and her not-completely-formed features. So many dreams, destroyed by a drunk in pseudo-command of a ton of motorized metal.

"So beautiful," said Flor. Alison turned with a start, having not even noticed the cleaning woman's entrance. Then she turned back to the isolette.

"Yes, she is," Alison said. "They all are, you know." She glanced down at Flor's belly, which was now becoming quite pronounced.

"She is sick, no?"

"Very," Alison said.

Flor nodded as she fingered the cross she wore around her neck. The broom in her other hand was completely forgotten.

Alison sighed. "I wish I could understand why God touches some babies but not others," she said as she starting notating Baby Girl's current numbers. They were getting worse. In an hour, she'd be coding.

"We're not supposed to understand that," Flor said.

"I know," Alison replied.

Baby Girl's chest moved with the gentlest of movements as the ventilator machine breathed for her. That motion was getting harder to see. Baby Girl was weakening.

"She will die soon," Flor said.

Alison looked sharply at the other woman. The custodial staff weren't supposed to ask about the patients. But Flor hadn't really asked; she'd simply stated it outright, and Flor wasn't returning Alison's look anyway. She was staring hard at Baby Girl.

"Yes," Alison finally said, choosing not to chastise Flor for overstepping her bounds. "She will die soon."

Flor nodded. "Then I will pray."

Alison nodded, finished making her notations in the chart, and moved away from Baby Girl's isolette as she always did when prayers were being said, figuring that encroaching on a conversation was no less rude for one of the participants being The Almighty. Flor placed her right hand on the plexiglass of the isolette as she began to whisper a prayer. Her left hand she kept on her pregnant belly.

And again the prayer was in Latin.

***


And Baby Girl McKinley lived. Somehow she held on to life until Lakesha awoke after surgery. She lived to receive her name, Rosa. Somehow she held on to life for days, and then weeks. Somehow, Rosa McKinley grew stronger and stronger, until the day Lakesha was able to take her home.

***


Alison had been in the NICU long enough to have seen many improbably recoveries, but never like this. Never so close together, and never to a pair of infants whose lives had been so close to death. Little Rosa defied longer odds than just about any child she could remember, save little Ethan, who hadn't just defied odds. He'd defied the very definition of what was possible.

Brain tissue doesn't heal. It just doesn't. Unless God, or someone else, wills it.

Someone else?

Alison had thoughts about that, which she kept to herself. Two days after it became clear that Little Rosa was rebounding, in a routine shuffling of maintenance personnel Flor was reassigned to Oncology and Radiology. Alison made a mental note to keep her ear to the grapevine. Perhaps there would be a stunning recovery or two in the cancer ward over the next couple of months...but instead, she heard nothing at all from Oncology.

***


Two months. Alison ate, slept, came to work. She went on a few dates that didn't come to anything. She thought about children: one day having her own, and about her fears that even if she eventually did, she wouldn't be a good mother.

She thought about God and the babies He saved and the ones He ignored.

Alison worked in a Catholic hospital and every day she struggled with God. But then, didn't everybody? Even the Chaplains? Every priest or pastor she'd ever heard sooner or later spoke of struggles with faith, although Alison wondered sometimes if that was mere rhetoric for the not-quite-yet-converted. Only one, a Franciscan from her college years named Brother Tony, had an answer that was in any way satisfying: "Faith is hard. If it wasn't, we wouldn't have needed God's son in the first place. And it was hard for Him, too."

Alison was thinking of those words one night when, as ever, the NICU phone rang. She answered it, listened, said "Yes, Doctor," and then gestured to Mary and paged the other nurses and Dr. Garth, the on-call attending.

Two babies, born minutes apart, were on the way up.

***


The cases were eerily similar. Both boys. Seven pounds six ounces versus seven pounds four. Both had been distressed during labor; both likely suffered brain damage due to oxygen deprivation. And in the cruelest of strokes, both mothers suffered uterine injuries that required emergency and complete hysterectomies. Alison had seen cases like these before – they were the worst of the worst – but never two in the same night, at the same time.

Two baby boys on the brink of death, with their mothers forever unable to bear more children. Alison could not remember a night when she and the other nurses had worked harder to keep two children from dying outright. And even then the fight was far from over.

One of the babies was named Matthew. His father was a graphic designer; his mother was a graphic designer. The other baby was named Juan. No one knew anything about his father. His mother was Flor.

***


Somehow both Baby Matthew and Baby Juan survived long enough for their mothers to get out of bed and come upstairs from recovery to see them. By this time, Baby Matthew's body was beginning to shut down as he crossed the ever-shifting, but never vanishing, boundary between medical ability and inevitable death. Matthew's parents came up at last, in what would certainly be the last time they saw him. His mother held him for as long as she could manage it, and they stood by as Father Duffy administered the Last Rites. Standing nearby, watching the monitors the whole time, Alison brushed tears from her cheeks. It took a special blend of love and strength to be a NICU nurse, but even so, she never got used to the cases where the parents said Hello and Goodbye to their children in the same moment.

Some time later, while Baby Matthew waited in his mother's arms to die, Flor arrived to see Baby Juan. Against all odds, he was actually healing. Alison stood across the isolette from Flor, and both looked down upon little Juan, whose tiny chest moved in gentle rhythm with ever-strengthening breath.

"He is strong," Alison said. Flor made no reply. She only reached down and caressed her son's face, wept, and after a time, looked across the room to where Baby Matthew was living the last of his hours.

"That one will die," she said.

"I can't discuss other patients," Alison said. Flor met her eye and held her gaze, and Alison relented. "Yes," she finally said. "He will die."

Flor nodded, and looked back down at little Juan.

"You haven't asked about his father," she said. "Thank you for that."

"It's not my place, no matter whether I know you or not."

Flor nodded as she continued stroking Baby Juan's cheek. "Doctor Flynn says that he will be mildly disabled, but he should be able to have a good life."

"You've been blessed," Alison said.

"Blessed," Flor echoed. "Truly, I have been blessed." Again she looked over at Baby Matthew and his weeping mother.

They passed the next three minutes and fifteen seconds in silence as Flor touched her son, imprinting upon her memory the feel of his warming skin. Alison updated the charts.

It on that sixteenth second that Baby Matthew began to crash for the final time.

Alison hit the alarm button. "You need to leave now," she said to Flor. Mary and two other nurses were already rushing in, and Dr. Flynn was right behind.

Flor leaned down over little Juan, her eyes full of tears. She rubbed her cheek against his. "Be well, little one," she said. "I will see you again." She closed her eyes and whispered something else, in Latin. And then, without being watched by Alison or anyone else in the room, Flor slipped out into the hallway, and from there out of the NICU entirely.

For Alison, the moments when a baby's life was either about to end or not were always the quickest and slowest moments of all. Everything seemed to both slow down and go by so fast.

They laid Matthew in his crib. They brought out the defibrillator. They charged, and they shocked him when his heart stopped. His parents had wanted this. They had ordered the doctors to fight for every minute Matthew could possibly have. His mother stood to one side, clutching his blanket in her fingers, sobbing. He couldn't die in her arms. Not yet.

And he didn't.

After the second shock with the defibrillator, his rhythm returned. His oxygen levels rebounded. His color pinked up. For a few brief seconds, he opened his eyes and when he opened his mouth, he cried for the first time in his short life. In that moment, Baby Matthew's recovery began.

And in that same moment, little Baby Juan died.

***


When Alison tried calling Flor at the number the hospital had on record for her, there was no answer, and no machine picked up, either. She tried calling Flor many times over the next few days, to the same result, until finally instead of unanswered ringing, she received the standard recorded voice telling her that the number dialed had been disconnected. Her final paychecks went uncollected, and mail to her home was returned. No one from Our Lady of Eternal Hope ever saw Flor again.

Little Juan's body would have been dealt with in the way that all anonymous dead were dealt with, but Alison used some of her savings to pay for the cremation. Realizing that she knew absolutely nothing about Flor and thus had no idea as to what Flor would want done with the ashes, Alison had a tiny portion of them placed in a necklace for her to wear, and then on a warm spring day she scattered the rest of them into the waters of Lake Michigan.

Baby Matthew's recovery was the last of the three miracle recoveries in six months that took place at the Our Lady NICU. Things returned to "normal": some babies lived, others died. But the three – Ethan, Rosa, and Matthew – were the subject of much study and discussion. Some hypotheses made mention in the New England Journal of Medicine, while in other circles, different hypotheses took root. Father Duffy speculated occasionally that their recoveries were miracles performed by Father Tobias Mollander, a legendary local priest who'd been mentioned by the New Mowbray faithful for Sainthood. An emissary from the Vatican came to discuss the cases. That made the New Mowbray Times – but no one ever mentioned Flor or Baby Juan. Alison didn't, either, although she couldn't exactly say why.

And life went on. Alison got into a serious relationship and eventually got engaged; she also started attending church more often, albeit not every week and not to the point of commitment. She still had questions that the clergy weren't able to answer to her satisfaction, but she took it as a sign of progress that she was willing to listen to their answers.

On the third anniversary of Baby Juan's birth, a postcard came to the NICU, addressed to Alison. On the front of the card was a reproduction of some Renaissance painting of the Madonna and child, and on the reverse, the message – written in a female hand – read:

"And God shall wipe away all tears from their eyes, and there shall be no more death, neither sorrow, no crying, neither shall there be any more pain: for the former things are passed away."

Alison kept that unsigned postcard for the rest of her life. Sometimes she would recite its words as she stood, in the NICU, over the isolette or basinet of a sick child.

Including, ten years later, her own daughter.

Finis

Thursday, April 16, 2009

Something for Thursday

Here's a bit of wonderfully beautiful film music writing, from the movie Medicine Man, by Jerry Goldsmith. This is one of those movies to which Goldsmith gave a pretty good score despite the fact that the movie is complete crap. (The flick has Sean Connery and Lorraine Bracco as two biologists in the Amazon, trying to track down a lead on a potential cure for cancer before those pesky myopic Brazilians bulldoze the entire forest. Connery can't quite figure out for the life of him what he's actually looking for, even though the movie has telegraphed it to the viewers so strongly that we're sitting there, shouting at the screen, "It's the ****, dummy!". (I redacted it in case you want to watch the movie, which I don't recommend.)

Anyway, there is one wonderful scene in the movie: a sequence where the characters climb into a set of Rube Goldberg-esque chair things suspended a hundred feet above the ground and pull themselves on ropes from one tree to the next. This cue, called simply "The Trees", underscores that scene, which is mainly good because the characters stop talking. It starts out nicely enough, but the gorgeous melody blooms forth at about the one minute mark. The track ends with some boilerplate suspense stuff once the beautiful scene has ended, but the middle four minutes are pure film music magic.

Here's "The Trees". (Don't bother watching the video, it's just a picture.)

Wednesday, April 15, 2009

In the Bag

John Cole on today's Tea Party nonsense:

You know what really irritates me about the tea parties? The basic fact that if right now, it were President John McCain and not President Obama, and nothing else had changed, these tea parties wouldn’t exist. You know it, I know it, and even the teabaggers know it. It is just such transparent bullshit that it is offensive. The most these guys ever did during the last lost eight years was put a limp Porkbusters logo on their website, but now that we have President Malcom X George McGovern Shabazz, they are freaking out like there is no tomorrow. So absurd.


That's about right. This had nothing to do with taxes, or spending, or anything of the sort. It had to do with a Democrat in the White House, pure and simple.

A couple of other quotes I liked today. First, Steve Benen:

So, at some point in the future (we don't know when), some politicians (we don't know who) might find it necessary to raise taxes. Whose taxes would be raised? It's too soon to say. How much would taxes go up? No one knows.

But the mere prospect of a possible future tax increase has led untold thousands of activists, an entire cable news network, corporate lobbyists, conservative bloggers, conservative talk-radio hosts, and Republican officials to organize a series of national events. With extraordinary foresight, they've organized thousands of rallies to register their outrage, not at existing tax rates, but at tax policies that haven't been proposed, but might exist at some undermined point.

Got it.


And Andrew Sullivan:

But the substantive critique must remain the primary one. Protesting government spending is meaningless unless you say what you'd cut.

If you favor no bailouts, then say so. If you want to see the banking system collapse, then say so. If you think the recession demands no fiscal stimulus, then say so. If you favor big cuts in Medicare, Medicaid, social security and defense, then say so. I keep waiting for Reynolds to tell us what these protests are for; and he can only spin what they they are against.

All protests against spending that do not tell us how to reduce it are fatuous pieces of theater, not constructive acts of politics. And until the right is able to make a constructive and specific argument about how they intend to reduce spending and debt and borrowing, they deserve to be dismissed as performance artists in a desperate search for coherence in an age that has left them bewilderingly behind.


And by "specifying cuts", well, cutting earmarks and volcano monitoring just isn't going to work. Kevin Drum has the goods on that.

In short: the Tea Party people just aren't serious. They don't know what they're doing, they don't know what they're talking about, and they're in love with policies that didn't work the first time(s) they were tried. Other than that, though, they're fine patriots, each and every one!

(I had to watch some of this nonsense today while I was at the Y working out; I like to use the stationary bikes and the one I chose was unfortunately directly underneath the teevee that's tuned to FOX News. Now, most of the teevees at The Store are also tuned to FOX News, and every time I walked by one of them today, their footage was breathless Tea Party stuff. FOX isn't even trying to pretend to be "fair and balanced" anymore, are they? They're the Limbaugh-Coulter-Beck News Channel.

Anyway, there on the teevee at the Y was Glenn Beck, who strikes me as being your standard right-wing teevee pundit these days: loud and blitheringly stupid. At one point he had Jeanine Turner on so she could do the "OMG, I'm the only Republican in Hollywood!" schtick that Republicans in Hollywood like to do, and for a few minutes they blathered on about what a wonderful leader Sarah Palin is.

This Sarah Palin.

Guffaw.)

Tuesday, April 14, 2009

Waiting for an absolution that would never come.



Ninety-seven years ago tonight, the HMS Titanic was steaming across the North Atlantic when it hit an iceberg and sank two hour later. It's a well-known story, obviously -- but it's one of the most compelling stories of the modern age, being one of the most famous reminders that with all our technological prowess, Mother Nature can always lift a hand and swat us down like the mosquitoes that we probably are, in her eyes.

Sheila has a nifty post up about the sinking, in which she ruminates more on people who develop a high degree of interest in the ship and its dolorous fate. Sheila's posts often teach me something new, and this one is no exception: I had no idea that photos exist of the probable iceberg itself.



(Images courtesy titanic-nautical.com.)

Twenty-five cents (part 3)

Clearly this series of posts isn't impressing anybody, because nobody has bothered to remind me about it! But anyway, we'll continue now, picking up with Ohio:

Ohio




The first time I looked at Ohio's quarter, my reaction was, "Huh?" It's the ever-boring state outline, with a picture of the Wright Brothers' airplane prototype and a spacesuited astronaut, explained by the helpful motto: "Birthplace of Aviation Pioneers". The Wright Brothers were born here, that's obvious, but who's the astronaut? Was it just John Glenn, or others? So Ohio used its quarter to honor famous people who did their famous things someplace other than Ohio. OK, I guess, if you like that sort of thing. I, however, am underwhelmed. They could have mentioned Cleveland's place in the history of rock-and-roll, for example. Meh.

Ohio's quarter: $0.11

Indiana




Another state that proclaims itself a crossroads, but this time, it's the Crossroads of the entire country. Yup, the quarter reads: "Crossroads of America". There's a ring of stars on one side with a larger star in the middle of it for some unknown reason, a boring monotextured state outline, and a Formula One race car honoring the Indy 500. This design just screams out "Mailed in by the committee for designing a quarter the night before the assignment as due".

Indiana's quarter: $0.09

Illinois




As much as I love the Great Lakes region of this country, I've gotta say, the quarters these states have come up with are all pretty uninspiring, with New York's being the best of the lot thus far. Here's Illinois, another committee-designed hodgepodge of elements that had to be included: Illinois has farms and Chicago, and it gave us Abraham Lincoln, and it's the twenty-first state, and the coin reminds us that we're in the 21st century now, and let's not forget the constant state outline. They probably felt they had to get Lincoln on there, since nobody takes the poor penny seriously anymore, but every state has farms and big cities, and the "21st State and century" bit is just goofy.

Illinois's quarter: $0.09

Michigan




Finally someone in the Great Lakes region gets it right! See, you don't have to jam your quarter with lots of unrelated stuff. Michigan shows all five Great Lakes, with Michigan itself rendered topographically. Simple and therefore successful.

Michigan's quarter: $0.20

Wisconsin




Folks, I have nothing against cows, cheese, or corn. But this, along with the banner reading "Forward" (which has nothing to do with the other design elements), just looks slapped together at the last minute, like Indiana's. At least they didn't stick an outline of Wisconsin on there...but this quarter isn't terribly inspiring.

Wisconsin's quarter: $0.12

Minnesota




I like the scenic picture they used here, the boat on the lake and the duck (although the duck is so big, relative to the boat, that it feels like they crammed two pictures together), and I'd rank this quarter higher if not for the Minnesota outline, which screws up the composition entirely.

Minnesota's quarter: $0.15

Iowa




On my personal pantheon of states that have been most important to me over the years, Iowa's probably second, since I went to college there. The state really does take eduction really seriously, and they chose to reflect this on their state quarter, while at the same time honoring favorite son and artist Grant Wood. It's nicely done.

Iowa's quarter: $0.19

Missouri




I like the design here a lot: it's nice and symmetrical, with what I assume is the great Mississippi River with three people rafting past woods on either side, with the Gateway Arch in the distance. Nothing much to critique here.

Missouri's quarter: $0.19

That's all for now. Next time, we'll finish the South and move into the Southwest.

But they're only supposed to be watching brown people!

What Glenn Greenwald and TBogg said.

Rightwingers, meet Karma and the actual results of awful policies you've been championing for years.

BTW: It's cool that Tea Bag Day or whatever they're calling Republican Astroturf Festival '09 falls on a Wednesday this year, because on Wednesdays I eschew my now-usual green tea at work and indulge in coffee.

Monday, April 13, 2009

Sentential Links #165

Linkage, linkage, linkage....

:: So maybe the Rodent Alliance are still out there, despite the Empire's best efforts. (So does all this photography make SDB a Bothan spy?)

:: She claims that the mystical orb she holds is the key to spiritual enlightenment, but its roiling inky blackness tells a very different story. (God, I love Comics Curmudgeon.)

:: You know, most women I know never use coy or silly euphemisms for their period. They just say, "I have my period." Or, "I'm on my period." Why is it, then, that we have a cornucopia of slang terms for, well, that time of the month? And are they insulting or funny? I can't decide. But I can list them. (OK then. I worked with a woman once who referred to it as "Betty". As in, "Leave me alone. Betty's here." This got really confusing when we actually hired a woman named Betty.)

:: “Ohhhhh yeahh… yeahyeahYEAH!... oh, this is good…this is really, really good, Mommy! Ohhhhh yeah baby… Hehehehehehehehhhhh.” (It's not what it looks like.)

:: While the media prefers to give a platform to ecological revisionists like Senator James Inhofe or Michelle Bachman because they are better television, the "boring" Aral Sea is fading away into environmental oblivion.

:: Accept misfortune as a blessing. Do not wish for perfect health, or a life without problems. What would you talk about?

:: Do you know the best thing about living in the Boston area? It really is the Athens of America. (So what does that make Buffalo? The Budapest of America? East Berlin, before the reunification? Hmmmm...new blog to me, by the way.)

:: In a weird way, it was a lot more fun to be a geek back then. It was kind of like Fight Club, something you experienced but didn't talk about. The pleasure derived, in part, from keeping the secret. Now it's mainstream; geeks rule the world, and we don't have to be uncomfortable about people mocking us for liking the weird stuff we like, and in fact it seems like more people like that weird stuff than ever before. Maybe our culture has outgrown the need for magazines like Starlog. And isn't that a sad thought? Because with mainstream acceptance comes a certain loss of specialness. (I loved Starlog, back in the day, especially when the mag was more focused on more esoteric areas of SF-dom. I haven't picked up an issue in many years, but I liked that it's still on the magazine racks. Alas. I will note that I like geekness now more than I did back then; I like feeling more mainstream for once. I never totally grokked the whole "outsider" thing about geek culture, and I for one am glad that geek culture is a lot more mainstream now. Note to self: subscribe to Geek Monthly.)

More next week!

Sunday, April 12, 2009

Unidentified Earth #63

Here we go! Last week's UI 62 is as yet Unidentified, with one erroneous, but astute, guess. We're looking at a place that holds a world record in that entry. UI 61 was identified, once we reached the "hint" stage, as Centralia, Pennsylvania, a town that no longer exists because the coal mines underground beneath the town caught fire years ago and have rendered the entire town unfit for human habitation. We actually drove through Centralia years ago, my family and I; it lay on one route we would occasionally take between WNY and the Philadelphia area where my grandmother and aunt lived at the time. The town was dying even then, and it was surreal to see smoke venting from pipes stuck in the ground in an attempt to allow the gases below to escape.

UI 58 was also finally pegged as Mt. Sunday in New Zealand, which was the site of the Edoras set for The Lord of the Rings. So, I believe that makes us up-to-date. Time for the new puzzler!



Where are we? Rot-13 your guesses, please!

Sunday Burst of Weirdness

Oddities abound!

:: Well, the track listing for the score CD for Star Trek is out there, and...well, let's just say that these track titles don't make it easier to take this movie seriously. Do we really have a Trek score with track titles like "Hella Bar Talk", "Run and Shoot Offense", and "Does It Still McFly"? Sorry to geek out here, but come on now.

(The music is by Michael Giacchino, J.J. Abrams's composer of habit. I'm of mixed mind on Giacchino: he writes decent enough music, but each time I hear him I get the sense that he's doing more pastiche of other composers than producing his own work in his own voice. So I'm concerned that this score will consist of him aping Jerry Goldsmith.)

:: I know that Republicans have pretty much gone batshit insane over the last year, but now they've reached a point where Little Green Footballs is saying "Whoa Nellie, we need to stop being so crazy". Wow.

That's about it. It was a slow week for funny weirdness, I guess. (And one of these isn't even funny weirdness, just me enjoying a political trainwreck.)

Friday, April 10, 2009

Tabling the issue

Ken Levine has a gripe about restaurants and the seating of customers:

I’m one of those people that hate to be shown to a bad table. In addition to the discomfort of being by the kitchen or next to the screaming baby, I always take it as a personal insult. The host just assumes I’m an idiot and doesn’t know the difference. Or I’m too unimportant to be shown a decent table. Better to leave the good one open just in case the Pope should happen in off the street.


This caused a number of bells to go off in my head, as a former restaurant manager, so here's what I wrote in his comments thread:

Not sure if this has been mentioned in the thread (I did read through it all but may have missed it), but all restaurants have bad tables, and all restaurants are aware of their existence. The problem is that bad tables are unavoidable; if you open a restaurant, you WILL have a bad table or two somewhere in your dining room. It's a fact of life. Like gravity.

The big factor that isn't mentioned here, I think, is that many, if not most, restaurants divide their dining rooms into "sections", with each server taking a particular section. This is to avoid the servers having to bounce all over the entire dining room and helps to ensure that no customers will be overlooked (if a server knows that this cluster of tables right here is his responsibility, then he presumably won't fail to notice a new group of people sitting in his station).

Now, most restaurants I've worked in rotate the stations so that you don't have the same person waiting the same section of the dining room each and every night. Thus, every night, someone else gets the section with the bad table or two. But here's the rub: hosts are trained to avoid filling sections too quickly -- i.e., you try to avoid giving a server two or three new tables in succession, which suddenly causes them to get overworked and make it possible to overlook customers.

This also implies that hosts will attempt to seat customers at the bad tables. They do this not to screw those customers, but to try to keep the serving staff evenly worked through, and to make sure that the poor server who has the crappy table(s) that day still gets a chance to earn some money. Believe me, if you're the server whose section includes the table everybody asks to be moved from, you take home less money that day than you would otherwise, through no fault of your own.

All I'm saying is that when you get put at a crappy table, there's a very good chance they're not assuming that you're too stupid to know it's a crap table.


Restaurants have crappy tables for the same reason that hotels in the Bahamas still have rooms that overlook the parking lot instead of the ocean. And they try to get customers to use those tables for the same reason that those hotels book those rooms.

Thursday, April 09, 2009

Something for Thursday

One of my favorite albums from the 1980s is Genesis's Invisible Touch. I think a lot of people probably think of this album, if they think of it at all, as basic 80s pop, but I was strongly attracted to it because it's really a fairly gritty and depressing album. The two "up-tempo" songs, the title track and "Anything She Does", are peppy enough, but that's about all the pep that you'll find on this record. "Anything..." is about pin-up girls and their static, unattainable nature ("Fiction/That's all you really are I know..."), while "Invisible Touch" describes an infatuation with a woman only seen from afar ("Well I don't really know her / I only know her name. / And though she will mess up your life / you want her just the same").

After that, the album's themes get more serious. "Land of Confusion" is a cautionary song about life in the nuclear age, with that famous video using puppets to perform satire on the geopolitics of the time. The album's two ballads, "Throwin' it All Away" and "In Too Deep", are both about failed love affairs, one from the point of view of the person ending the affair and the other from the POV of the person being left. Both are beautiful songs, but both are quite sad. The first asks "Now who will light up the darkness / and who will hold your hand? / Who will find you the answers / when you don't understand?", while the second has Phil Collins meditating thusly: "I gave you too many reasons, being alone, when I didnt want to. / I thought youd always be there, I almost believed you, / All this time, I still remember everything you said, oh / Theres so much you promised, how could I ever forget."

One of my favorite rock songs of all time is "Tonight, Tonight, Tonight", which to my ears describes the harrowing night of a strung-out drug addict ("I got some money in my pocket / about ready to burn, / I don't remember where I got it / I gotta get it to you."). This song is sometimes heard in a shortened version, but it just doesn't sound right to me outside its eight-minute length with the long instrumental interlude in the middle. And then there's the two-part, eleven-minute "Domino", all of eleven minutes long. I have no idea what "Domino" is about -- maybe nuclear annihilation? It's a very strange song, but deeply compelling, as well, with some of the album's finest imagery in its lyrics: "Sheets of double glazing help to keep outside the night, / Only foreign city sirens can cut through, / Nylon sheets and blankets help to minimize the cold. / But they cant keep out the chilling sounds."

Rounding it all out is a vocal-less techno track, "The Brazilian", that was actually used in a gritty episode of Magnum, PI. For all the pop sound on the Invisible Touch album, the songs themselves are not pure pop at all. There's a lot going on underneath the surface of this record.

Anyway, here's one of those two ballads, "In Too Deep".



I remember how a lot of the kids I hung out with in high school and college had specific pop or rock albums that they listened to on their Walkmen at night, with all the lights out. Invisible Touch was mine.

Wednesday, April 08, 2009

Interviews....

The other night, while IM'ing on Facebook, Belladonna asked me to wish her luck in her job interview the next day. I did, but as many longtime readers of this blog know, my luck tends to be, shall we say, questionable, so Belladonna apparently had a rough time of it in the interview. Alas...but she also asks for tales from readers of their own experiences in interviews, so here is a repost of a post I wrote back in 2003 when I got home from a highly odd interview for a job while we lived in Syracuse. I don't normally do reposts, but this one seems appropriate.

(And reading all those old posts sometimes makes me cringe a bit. Some of those posts are awful.)

Anyway, the old post, revisited:

Clear your mind, if you will. I would like to take you on a journey.

Imagine you're going to a job interview. First, imagine that when the guy called to set up the interview in the first place, you asked him what his company does, since it wasn't clear from the newspaper ad. He tells you, "We'll discuss that at the interview."

OK. Now you're walking into the place. It's in a not-run-down, but not particularly nice office complex out in one of the older suburbs. You notice that the company name on the door you've been directed to is not the same as the company name in the advertisement you answered. This is probably the reason why, in the phone call, the boss-guy told you to go to the door with a picture of a rhinoceros on it. (Forget the rhinoceros. No explanation is ever forthcoming.)

You walk in the front door, into the reception area. Here you are greeted by a receptionist who looks barely old enough to drive or vote, and she is bundled up just shy of still wearing her parka because the office is kept quite cold, despite the sounds of air blasting from the vent overhead. Her desk appears to have nothing on it save one (1) binder, a few file folders and clipboards, a fax machine, and a phone. No computer, no photos of the dog or boyfriend or goldfish or mother or parish priest.

You look around at the reception room. There are some chairs -- standard waiting-area chairs that will be found in any dentist's office or LensCrafters. There is a table with the requisite selection of magazines, none younger than one year and none remotely interesting. There is a single potted tree that looks like it needs water, and the sole decoration is a map of the United States from National Geographic, complete with fold-lines, pinned to a dingy-looking bulletin board. The map sports a collection of pushpins inserted over every major metropolitan area in the United States, conveying the impression of a wide-ranging, national company. And yet, this office has no company literature of any kind to be found anywhere. Nor is there a logo to be seen.

The receptionist has you fill out an application. Fair enough. When you finish that, you give it back to her and ask to use the rest room. She directs you to the "girl's room", because "the boy's room is broken". (Those are exact words. You note "girls" and "boys", not "women" and "men".) So you obediently use the women's room, noting that (a) the fluorescent light does not turn on all the way, but merely flickers at half-light; (b) there is no toilet paper; (c) there are no paper towels; (d) the hand-sink has no soap. You finish your business and go back to the waiting and reception area. where you sit and await your 1:00 interview, for which you were on time although it is now 1:10.

While passing the time between 1:10 and 1:25, you observe the arrival of five other people to fill out applications for open positions. Busy place to be doing all this hiring, and sure enough, the receptionist takes a lot of phone calls from people apparently answering the ad in yesterday's paper. (You had answered an ad two weeks prior.) The receptionist answers a LOT of these calls, and only later do you realize that in the roughly 30 minutes you were in her company not once did she field a call from a customer of whatever company this is.

So, the boss-guy finally comes out and greets you for the interview, apologizing for the 25 minute wait and claiming it's because of his heavy interview schedule that day -- which is odd because (a) you have noticed no one leaving his office, and (b) he later confirms this by informing you that you are in fact his first interview of the day. Ever the professional, you don't give the obvious rejoinder that he is off to a great start, even though it is painfully obvious that he is at least six years younger than you. (This, too, is later directly confirmed.) He takes you into his office, where you again notice the complete lack of personal items on the desk. He does have a picture of Derek Jeter on his wall, but this does not necessarily imply that he's a Yankees fan, because said picture has one of those inspirational business-world slogans that are all the rage these days. What's more, his desk doesn't have a computer either, and you're wondering just what kind of business this guy is running with no computers at all.

During the interview, you are never asked a single question about your background or work experience, other than the standard "I see you've worked at X, Y and Z companies." No "What did you like best about those companies"; no "Tell me about your responsibilities"; no "Tell me about a problem you faced and solved". Then you get to hear the boss-guy's background, which involves him buying his favorite college bar, running it for three years and eventually selling it, and then joining this company, the name of which he still has not said. The only reason you know it is because you read it on the door coming into his office. The receptionist doesn't even use it when answering the phone.

The interview process, as described by boss-guy, involves a preliminary interview -- that's today's interview -- followed by a second round with the "top candidates". This seems perfectly normal, although you wonder how much of an impression he's forming given that he is not asking any questions. But then he describes that the second round involves candidates coming back in to spend an entire day on the job with this guy, essentially performing job duties so that he can decide who he wants to hire permanently. This strikes you, a former manager who is no stranger to staffing and selection processes, as very odd. After all, when hiring a server at a restaurant you managed, you never brought a potential candidate in to wait tables for a day before hiring him/her.

So you leave after ten minutes of being talked to by this guy, and he seems perfectly pleasant and nice....but you still have little idea of what the job entails. At no point has he mentioned things like wages, hours required, duties...he does indicate that all the people now flooding the reception area are prospects for his warehouse positions, which is further confusing because this place is certainly no warehouse. It's a run-down office suite with exactly one office apparently in use.

So you leave, sit in your car for a moment basking in the warm air issuing from the heat vents (which after 45 minutes is still warmer than the air inside the office suite), marveling over the surreal job interview you've just experienced. Then you shake your head and drive off, a bit flummoxed and thinking of that scene in "The Fugitive" where Tommy Lee Jones gets annoyed over someone's use of the word "hinky".

And you certainly don't hold your breath waiting for the call for your "trial day".


Yeah, that was a weird one. Despite my use of the second person here, all of these things really did happen.

UPDATE: Of course, this is the canonical weird job interview:



Hee hee!

Tuesday, April 07, 2009

I hope they weren't waiting for me....

So, I become a Beatles fan at long last, and now they're remastering the entire Beatles catalog. So if my fandom, or the lack thereof, was the hold-up on this for millions of Beatles fans throughout the world, I apologize!!!

Permission to come aboard?

Well, now I officially want to see the damned new Star Trek movie. I still have my misgivings and I'll probably bitch up a storm about it afterwards, but I genuinely want to see it in the theater now.

Over at AICN, there's all kinds of coverage of last night's surprise premiere in Austin, TX. What happened was this: the audience there was supposed to see a preview chunk of footage from the new movie, which would then be followed by a screening of a restored, pristine print of Star Trek II: The Wrath of Khan. Well, instead, they showed ten minutes of Khan and then pretended to have a projection problem, during which Leonard Nimoy came out and asked the audience, "Wouldn't you rather see the new movie?" Audience goes nuts, and the new flick is screened.

Now that's the way to do it, huh?

As for the new movie, here's an interesting and non-spoiler review that is positive, but not gushingly so. But I still want to see the movie...not so much because of Trek, but because, I think, it's four years since Revenge of the Sith. I need a good dose of big screen space opera, and Trek seems to be the only game in town.

Thanks, folks!

A couple of readers have hit the tip jar over the last couple of weeks, for which I am grateful. It makes me feel, to paraphrase Lina Lamont, as if my hard work ain't been in vain for nothing!

Thanks!!!

Makin' it up as he goes

A few months ago, after some waffling on my part, I decided that it would be OK to introduce The Daughter to the adventures of Indiana Jones. I wasn't sure if she was ready for Temple of Doom yet, with its high levels of violence and gore, but I figured that she's nine, and so was I when Raiders of the Lost Ark came out, and when I saw Raiders I hadn't been prepared by having seen things like the Lord of the Rings movies, so one night we sat down to watch Raiders. Watching her react to that movie was as fun a Family Movie Night as I can recall.

The Daughter's reactions to Raiders mirrored my own reactions, at least the ones I can recall, almost exactly. It was uncanny. At times she was on the edge of her seat, literally, quivering with the certainty that Indy was about to die horribly, starting with inside the Hovitos temple when Satipo has run off with the idol and Indy's trying to climb out of the pit as the stone door descends, and again later when it looks certain as hell that Toht is about to use that poker to scar Marion for life. She laughed uproariously when Indy shot the Impressive Swordsman, and she tensed up later on when Toht's chain-link torture implement turns out to be a coat hanger. She cheered Indy's victory in the Desert Chase, and went "Ewwwwww!" when the Nazis' faces started melting.

Next, of course, came Temple of Doom, which I waffled on allowing The Daughter to watch since it's quite a bit darker and quite a lot more violent than Raiders. Of course, she loved the banquet scene, and she squirmed a lot during the bug scene; The Daughter is petrified of bugs in general, so this was highly effective. The rest of the movie she didn't find all that scary, oddly enough. Hmmmm. (I did not let her see the plucking of the sacrificial victim's heart, however. I skipped past that.) As always, I found Temple to be better than its reputation holds. Sure, Willie Scott gets to be too much at times, but it's a fun movie.

Last up was Last Crusade, which remains the least of the three. Did so much of it have to be played for laughs? Did Marcus Brody, who had been implied in Raiders to be what Indy will become when he's older, have to be turned into a complete buffoon? Was there really a purpose in having Indy seduce Elsa early in the movie, when he's never been a seducer in the prior movies, other than to set up the fact that Indy and Henry Sr. both slept with the same woman? In fact, was there any purpose to having them sleep with the same woman at all? The chemistry between Harrison Ford and Sean Connery covers a lot of sins in Last Crusade, but wow, this should have been a better movie than it is.

Of course, watching the original three Indy Jones movies brought us to the most recent one. So. Indiana Jones and the Kingdom of the Crystal Skull. We finally got around to seeing it. My basic reaction through a lot of it was to wonder why on Earth so many people seem to think it's crap on a stick, and then to see in certain places just why so many people seem to think it's crap on a stick. Now, I don't think it's crap on a stick – it's neither crap nor on a stick – but I can see where things in it would bug certain people with certain hangups about movies like this. Reflecting after the movie was over, one thought kept coming back to my head: "Wow, this would have been really something if they'd been able to get in just one more rewrite of the script." There's a lot of stuff in the movie that's right, most of it, actually. But there are a few clunker moments and things that are left underdeveloped. By way of a food analogy: have you ever got a pizza from your favorite pizza place that, for some unknown reason, wasn't quite baked all the way through? So while the whole thing's generally satisfactory, there are bites of it that are doughy and underdone? That's what I felt like watching Crystal Skull.

The movie takes place in 1957, when Indiana Jones is nineteen years older than the last time we saw him, in Last Crusade. His brown hair is now gray, he's not quite as trim, his face is rounder, and his voice has a permanent rasp to it. But he's still game for an adventure or two, and as the movie begins, he's been dragged by force into this one. The opening scene tracks a convoy of military trucks across the Nevada desert as they arrive at a secret government base, which turns out to be, naturally, Area 51. The military convoy turns out to be Russians, and when Indy turns up, it's not as a separate adventurer or anything like that. No, the Russians drag him out of the trunk of one of their cars. They've kidnapped him, because there's a warehouse in Area 51 that contains a crate they're looking for. (Actually, that warehouse contains lots of crates. Thousands of 'em, containing, we're told, all of the darkest secrets of the US government. We get a glimpse a bit later of one of those crates, after it's been broken open by accident during Indy's escape; the crate contains what appears to be a chest made of golden wood topped with a pair of angels...but never mind that, the Russians want the crate that's so magnetic it attracts gunpowder when Indy tosses it in the air.)

It turns out that these Russians, led by a female officer named Spalko, are looking for a crystal skull that, when taken to a mythical lost city in the Amazonian jungle called Akator, will somehow yield the ability to read minds the world over. The Russians will know American military secrets as soon as they're conceived, irrevocably tilting the balance of the Cold War. That outcome, obviously, would be bad. Unfortunately, the film doesn't do nearly enough to play up this angle, and the Cold War subtext of the film which is actually nicely drawn in the first half of the movie pretty much disappears in the second. That's problem Number One.

The interesting development is that after escaping the Russians, Dr. Jones is branded a "person of interest" by the FBI because he "helped" the Communists get what they wanted, and he's fired from his teaching job, and for a short while he's followed by the US government. This could have led to some really interesting and fun complications; the only thing that's more stressful for a hero than having to overcome the bad guys is having to overcome the bad guys while convincing the rest of the good guys that he's really a good guy. (The current season of 24 has been milking this particular device for all it's worth.) Unfortunately, this aspect of the plot drops out of sight soon after. That's a shame.

So, Indy, having been fired, is contacted by a young man who goes by the name "Mutt". Mutt's got a whole bunch of chip on the shoulder attitude, but he needs Indy's help, having been sent by his mother to get Indy's help. Oddly, Indy doesn't strongly follow up on the question of who this kid's mother might be, but we learn later on exactly who she is: Marion Ravenwood, the original love of Indy's life. Well, from there, it doesn't take much to figure out that Mutt is Indy's son as well. It turns out that Indy left Marion at the altar. Oops...and somehow, the producers of Crystal Skull failed to do the obvious and have Marion do the same thing she did the previous time she came into contact with Indiana Jones after a long period away from him: belt him across the jaw. No matter, though; the chemistry between Harrison Ford and Karen Allen is as strong as ever, and watching these two characters interact is one of the film's finest pleasures. It's too bad that Marion doesn't have much to do in the film's climax; she ends up just standing there a lot.

As long as I'm talking about the film's climax, well...yes, the movie deals with aliens (or "interdimensional beings"), that are basically the exact alien that's dominated the UFO culture ever since 1947. A lot of people didn't like that an Indiana Jones film strayed so far away from the mystical-religious fantasy of the first three films in favor of sci-fi in Crystal Skull, but I'm not convinced, because I don't think that's what they did. In sending Dr. Jones into the Mayan milieu, it's perfectly logical to bring aliens into the story, as many UFO researchers have done over the years, in suggesting that the Mayans were the beneficiaries of alien technology and that aliens played some part in that culture's shockingly quick descent. Moreover, there is a lot of strong religious subtext underpinning much of UFO culture; you can't miss it if you read into it, and so, one can definitely argue that in Crystal Skull, Indy still is very much working on mystical-religious stuff. Anyone complaining that this movie is Indiana Jones meets The X-Files must have missed all of the strong religious and spiritual content in The X-Files.

For that matter, a lot of UFO culture springs not just from mysticism but also from Cold War paranoia, which the film was trying to tie itself into. It wasn't totally successful on this point, actually; the Cold War subtext is lost halfway through the movie, which is a shame. (For one thing, Raiders and Last Crusade didn't lose track of their World War II subtexts.) It's a shame that Indy's quest, which should also have been a quest to clear his own name, was allowed to lose so much of that emotional urgency.

My other random complaints about Crystal Skull? Here they are, mixed in with some stuff I liked, because I actually liked the movie quite a bit:

:: I can accept the bit with Indy surviving the nuke blast by hiding in a lead-lined refrigerator. I'm fine with that, really. What I didn't like so much was that the fridge got violently blasted something like several miles from its starting point. Now that I had a hard time swallowing. I would have liked this better if Indy had opened the fridge, pushed away a lot of wreckage of the house, and found himself standing in the middle of a bunch of radiation-suited guys who had come to inspect the results of the blast. I'm willing to accept a lot, but this pushed me just a wee bit.

:: Nice bit of scripting: we're set in 1957, and Spalko tells Indy that they need his help finding the crate he had worked on ten years earlier. That would be 1947, which is when the first post-war UFO sightings happened.

:: Another nice bit of scripting: the twist on the classroom scene, which starts off the way the classroom scenes started in the earlier movies, but then whirls about with Indy's firing. I loved that he's still assigning Michaelson to his students; that's exactly the kind of detail the movie had in spades for fans like me.

:: The next scene, in Indy's house, was nicely done. I like that they didn't turn the Dean into a mean jerk; he resigned in protest of Indy's firing, and he's there as Indy remembers his father and Marcus Brody. That Dean has a good line: "I think we're both at that age when life stops giving us things, and starts taking things away."

:: That brings me to the movie's handling of Indy's advancing age. I think the film handled this all very well. Some allusions are made to what Indy's been up to since Last Crusade (he was an actual spy at some point, it appears), and Indy doesn't spend the whole film complaining about things he can't do anymore, but neither does he act in a way inconsistent with the fact that he's now a 60-something action hero. He treats Mutt as a wise elder would, but he's never condescending toward him.

:: Complaint time: the character Mac, who we first meet in the film's opening, is a partner of Indy's, until he's revealed as a traitor five minutes later. In all honesty, this should have been that character's last appearance. He keeps popping up throughout the movie, finally earning Indy's trust again before betraying him again, and eventually dying because he can't let the treasure go when the Temple is collapsing. After the first betrayal, he only clogs up the screen and takes attention away from characters we're actually invested in. Mac should have gone away after the first scene.

:: Well-developed villains really aren't the strong point of the Indiana Jones movies, but this one really shortchanges Colonel Spalko. We learn exactly nothing about her, except that she really wants the power of knowledge. That's too bad, because I loved Cate Blanchett's performance.

:: Who are the weirdly-made up warriors who are guarding Akator and the Temple earlier in the movie? We're never told. They just pop up out of nowhere, twice in the movie. Huh?

:: I've read some commentary about the movie, although not a lot, prior to seeing it, and of the people I read (reviewers and bloggers alike), nobody gave away the visual punchline of the scene where Indy and Marion are caught in quicksand. (Well, not really quicksand, as Indy helpfully explains while they're sinking.) Thanks, folks! Had I known what was coming I wouldn't have laughed nearly as hard.

:: I do recall some people complaining about Mutt doing a Tarzan yell when he's swinging on the vines, but I didn't hear it – did they eliminate the yell for the DVD? Anyway, I'd have been fine with it, really, even though people complain about George Lucas having Chewbacca do a Tarzan yell in two different Star Wars movies. It shouldn't have happened in Star Wars, but I have no great difficulty with it here; I'd simply assume that Mutt has spent some time as a kid in the movie theater watching Johnny Weismuller doing his thing as Tarzan.

:: The climax doesn't work as well as it should, because there's never that moment that came in the first three Indy films where the villain is undone because he (or she) has failed to understand something that Indy is only just now figuring out. (Don't look at the stuff coming out of the Ark; don't use the Sankara Stones in a way that Shiva wouldn't have liked; at the Last Supper, Jesus would have been drinking out of a crappy tin cup.) So Spalko's final demise isn't really explained. I didn't need Indy doing something, per se, but there's no real explanation offered as to what befalls Spalko. It's easy to figure out, but we shouldn't have to put those pieces together. Indy could have shouted something like "Colonel, look at the size of that skull! Do you really think your brain is going to be able to handle what that brain knows? Much less thirteen of them?"

:: The wedding. Look, hasn't poor Temple of Doom been rehabilitated enough yet that we don't have to keep pretending that it never happened? It's actually a pretty good film on its own, so if we're going to have lots of little reminders of Indy's prior adventures, can't we acknowledge that one? Here's how it should have happened. Hey, as Blogistan's official script doctor for George Lucas, you can indulge me!

Just before the wedding, when the guy is stenciling Indy's name on the door as the new Dean:

INDY: I can probably still get them to rehire you.

OLD DEAN: No, I'm looking forward to retirement, actually. Maybe write a book, or even go out into the field. If you can do it--

INDY: The field's not what it used to be, old friend.

OLD DEAN: What is?

Indy finishes tying his bow tie.

INDY: Well, here we go!

A messenger enters, holding out a telegram.

MESSENGER: Dr. Jones? Telegram, sir!

INDY: Thanks. (looks at telegram) Shanghai?

OLD DEAN: You have an old friend in Shanghai, don't you?

INDY: And a few enemies. (reads) "Dr. Jones: Regret unable to attend ceremony but I have found the lost tomb of Genghis Khan. Would appreciate your help. All the best, Short Round."

He looks at the Old Dean, with that familiar Indiana Jones gleam in his eye....

OLD DEAN: Now, now, old friend, you've already broken this promise to Marion once. You're not doing it again.

INDY: I guess you're right.

He heads off to the chapel, but not before tucking the telegram in his pocket.

Then, later on after the wedding, as Indy and Marion are heading back up the aisle:

INDY: I know I promised you a honeymoon in Paris, but you know where it's supposed to be beautiful this time of year? Shanghai.

MARION: Shanghai.

INDY: Yeah.

MARION: My father took me to Shanghai once. He was looking for the lost tomb of Genghis Khan.

INDY: Funny you should mention that...wait a second, I forgot something.

And that's when he'd go back and grab the hat from Mutt.

:: I like that as soon as Indy learns that Mutt's his son, he starts calling him "Junior".

:: Maybe it's that I live near Niagara Falls and am thus highly aware of the fact that going over it in any kind of open craft is certain death, but the waterfall scene bugged me even more than the refrigerator.

:: I chuckled when Indy said "I've got a bad feeling about this."

OK, I think I've gone on long enough. Yes, it was a fun movie. Yes, it could have been a remarkable adventure film, with just a bit more work done on the script. I kind of wonder if the writers' strike of a year ago played a part – maybe they wanted to take another pass at the script, but the strike came up and that meant that if they waited it out and then did their rewrite, the schedules of Spielberg, Lucas and Ford would have been another five years from converging. I wonder if the strike forced them into going into production with a script that wasn't totally to their liking. But I could be wrong.

Anyway, like I said, Indiana Jones and the Crystal Skull is roughly 85 percent of a terrific movie.

Monday, April 06, 2009

Make Me Read!

I'm just about finished with A Farewell to Arms, which means that in the next day or two I'll be reading Tigana. And that means that it's time for my next poll of what I need to read after Tigana, which is where you all come in!

I'm thinking that I'm in the mood for a bit of horror, so I've chosen two titles from that fine genre. First is The Terror by Dan Simmons, and the other is It by Stephen King. Let the voting commence!

(A post on A Farewell to Arms is forthcoming, obviously.)

Sentential Links #164

And away we go!!!

:: March is like November, but more hopeful.

:: A newspaper city room was a noisy place to work. Dozens of typewriters hammered at carbon-copy books that made an impatient slap-slap-slap. Phones rang the way phones used to ring in the movies. Reporters shouted into them. They called out "boy!" and held up a story and copykids ran to snatch it and deliverer it to an editor. Reporters would shout out questions: "Quick! Who was governor before Walker?" (Terrific post.)

:: What can you say about a movie whose emotional climax occurs in Salt Lake City?

:: William Randolph Hearst? He was the George Lucas of his day. (An older post, and one I don't agree with, but still an interesting take.)

:: A few days ago, in the comments section, I revealed that the CGI stars as seen in that backgrounds of Battlestar Galactica were, for the most part, random. (See, I would have just assumed this...but not so the mega-obsessive skiffy fans who analyze shows like LOST and BG!)

:: He made a Swamp Thing blow up doll using a sex doll, papier mache, kudzu vine, and a viscous solution of egg whites and soy sauce. It really felt and smelled like the real thing. (How come nobody ever writes stuff like this about me on my birthday?!)

:: The king doesn't need to be powerful to be important.

:: What do you think of Twilight Summarized by a Smartass? (Oh my God, the world needs this. SamuraiFrog, you MUST do this! It is a moral imperative!)

More next week!

Asystole.

So, ER ended the other night. I didn't watch it, or anything of this final season aside from a chunk of the first episode of the year, but I do note the official end of a show that for me ended four or five years back. Time then, I suppose, for one final summation of my love-hate relationship with ER.

I remember ER's first season, back in 1994, when it was replacing LA Law in NBC's Thursday night lineup. Now, LA Law had also been a favorite show of The Girlfriend (later The Wife) and I, but it had petered out over its final few seasons, getting more and more lame as it went. What had really done LA Law in? Well, it was an ensemble show about lawyers, and as an ensemble show, it was designed so that it could lose characters if it needed to, by simply adding new ones. Sure, there were some members of the ensemble who were more important than others, but if done right, they could be interchanged. Only, it turned out, they really couldn't. Once enough of the compelling original characters -- the Harry Hamlin, Jimmy Smits, Susan Dey, and others -- had left, the replacements turned out to be significantly less interesting, and the same problem afflicted the writing staff. So a show that started out with a neat and fresh look at the world of high-rolling legal eagles became a show that disposed of troublesome characters by having them step through elevator doors without realizing that the elevator wasn't there.

Another show that started a year before ER did was NYPDBlue. It, too, was ensemble-by-design, but it fared much better than LA Law did. For one thing, NYPDBlue managed to hold onto one of the most important cogs in its ensemble wheel for its entire run (Dennis Franz's Andy Sipowicz). For another, Blue was, over its entire run, far more successful than Blue in replacing departed characters with new ones. I've always felt that NYPDBlue never got enough recognition for keeping the chemistry right even with completely different characters coming and going through more than ten seasons.

What does this have to do with ER? Well, ER was also an ensemble-by-design show. Ensemble shows live or die by their ensembles. A show that gets canceled probably suffers that fate, in part, because its ensemble doesn't have the right chemistry. (Sometimes, anyway. Look no farther than Firefly for a show that had awesome ensemble chemistry and yet felt the grim embrace of Network Doom.) ER was not, in my opinion, terrifically successful in maintaining its ensemble chemistry once original cast members started leaving, and eventually that -- and some trends in the writing that bugged me greatly -- contributed to me finally giving up on the show.

When did ER start to lose me? Well, I've long maintained that ER managed the odd trick of jumping the shark not once but twice, at least in my view. There were two plot developments that came about a year apart, if I recall correctly, that both put big dents in my enthusiasm for the show to start with, dents from which my enthusiasm would never recover.

The first was the major storyline feeding into the departure of Dr. Peter Benton. Benton was another arrogant surgeon, right from the show's first episode, played by Eriq La Salle. Even though Benton was gruff and arrogant, he was also a good man; in one memorable moment he interceded to keep Dr. Carter's life from spinning out of control. So, way back in season two, Benton had a brief affair with a woman from his neighborhood named Carla, an affair which ended quickly but not before producing a son named Reese. Benton and Carla would split custody, with occasional bad blood erupting, most notably when Benton used the court's custody order to prevent Carla's husband, Roger, from accepting a job that would have required him, Carla, and Reese to move to Germany.

Anyway, there would be some emotional stuff over the years regarding Reese Benton, who went through a difficult birthing process and who would later turn out to be deaf, forcing Benton to explore the ethics of cochlear implants. Well, in Season Eight, Eriq La Salle decided it was time to move on, so the show gave him one last big storyline. One night Carla and Reese were in a car accident. Reese survived with minor cuts and bruises, but Carla was killed -- and thus we were plunged into a child custody storyline, with Reese's step-father Roger and biological father Peter fighting it out for the kid.

Now, for one thing, this was all very "soap opera". What made ER compelling much of the time was that, for most of the first half of its run, it managed to keep the soap opera stuff mainly in the background, in favor of the medical stuff. There was just enough soap opera to keep viewers caring and to keep the characters from being mere faces, but until the Reese Benton custody fight, it never overwhelmed the show. And of course there wasn't much doubt about how it would end, was there? Peter would get custody. Everybody knew that. And sure enough, he did.

But.

Here's where the writers first poisoned the well for me, because over the course of that plotline, it turned out that Peter was not Reese Benton's biological father at all. So the story went from biological-dad-versus-stepdad to stepdad-versus-guy-who-once-did-the-dirty-with-mom. As soon as that was established, I figured, "Game over" -- how on Earth can the fact that this guy thought he was the biological father for five years trump the fact that he's not, while the other guy really was the child's stepfather for those same years? I don't see how it could; from that moment it made no moral sense for Peter Benton to get custody, and yet, that's exactly what happened. The writers managed to make me lose sympathy for Peter. And they couldn't even make it a kind of "karmic victory" for Peter by having Roger be a complete jerk who really shouldn't have custody at all; no, Roger was a good guy, a hard-working successful guy who had loved his wife and been a good provider for his step-son.

And then, in a moment of transcendent awfulness that was the first time ER actually pissed me off, they had the defeated Roger come to the hospital, so he could give Reese's Christmas presents to Peter so that he might give them to the kid. And Peter says, "Come over on Christmas and give them to him yourself." Roger tears up -- and well he should, since he's just been colossally screwed -- and says something like "Thank you, this means a lot to me." What does Peter Benton say?

"I'm not doing it for you."

And I'm thinking, "Way to go, writers. You're letting Benton go out by making him a dick." At least Benton took with him the awful Dr. Finch, a pediatrician played awfully by Michael Michele, an actress who seems to have two facial expressions.

The second shark-jumping, and for me the more serious, was the fate of Dr. Romano, which came two seasons later. Robert "Rocket" Romano (played wonderfully by Paul McCrane) was an enormously gifted surgeon, and he knew it, too; he knew everything and he pretty much seemed to hate everybody. He had little by way of social skills, he was horribly un-PC ("I swear 'ER' stands for 'Everybody's retarded'!"), and he basically went around saving lives because only he could and spewing unending gouts of cynical sarcasm that he got away with because he could save those lives by virtue of his amazing surgical skill. Not unlike Dr. House on House.

But Dr. Romano would also show hints of humanity every so often. Once he burst into the ER in a panic, cradling a critically injured patient in his arms: his own beloved dog. He exploded into rage when he failed to save a fellow doctor's life. He was in love with Dr. Elizabeth Korday, which he mostly accepted was doomed to be unrequited but which he allowed to show by being her confidant in some very dark moments.

After Romano was established thereof, the writers threw an astonishing twist at him: in a weird accident involving a helicopter, Romano's arm was chopped off. It got reattached, but he had to spend months in rehab trying to get it to work so he could return to surgery perhaps. However, it didn't work, and the arm began to die, so Romano had it amputated. All this played out over a year or more, and it was a fascinating arc for a fascinating character, as Romano became more and more hostile toward his co-workers while he tried to figure out just what kind of doctor he could now be. Still a doctor, but no longer the god-like surgeon? It was a fascinating place to take a character.

That was when the writers decided it was time for a curveball. They had Romano outside the hospital, in the alley, one day, as another helicopter was lifting off from the helipad on the roof. Some kind of mechanical failure happened, the helicopter literally dropped out of the sky...right onto Dr. Romano. End of Romano. That happened early in the episode, and the rest of the episode featured characters constantly wondering where the hell Romano had got to, right up until the final fade, which showed a big crane lifting the wreckage of the helicopter. Presumably, minutes after the fade to credits, someone says, "Hey, is that a body under there?" So the guy whose life had been irrevocably altered by a helicopter mishap was now ended in another helicopter mishap. Yuk, yuk, yuk. To me, that felt just like LA Law's dropping Rosalind Shays down an elevator shaft. Romano's death felt like a joke, from the visual of the helicopter crushing him (it looked just like the 16-ton weight that was always crushing people on Monty Python's Flying Circus) to the fact that the hospital would pay tribute to Romano by putting his name on the AIDS clinic when he'd been depicted as being at least mildly homophobic. Yuk, yuk indeed.

Of course, it wasn't just specific plot points that annoyed me with the show, and besides, there would be others to come along. It was the ensemble. Doctors started coming and going with such regularity that the show felt like it had a revolving door on it, and at times the cast ballooned to the point where characters would get a few minutes each of screentime per show. Many of the new doctors were just plain nowhere near as interesting as the ones from the early seasons -- the afore-mentioned Dr. Finch, for example. Did any regular viewer ever count Dr. Dave Malucci as a favorite? Shane West, a talented actor, was pretty much wasted when he was brought on as a doc who was little more than an older version of the flirting-with-delinquency kid he'd played on the far better written Once and Again.

Not just that new characters weren't that interesting, but they'd also get tossed aside ridiculously quickly, pretty much the second the writers realized they didn't know what they were doing with them. Thus it was that Susan Lewis disappeared overnight the second time. Dr. Korday got less and less screen time until the writers finally had her go home to England. Nobody cared about Dr. Malucci, but even so, his firing was a lame, out-of-the-blue moment. And so on.

The stories got jacked up to '11' all the while, too; while early seasons would end with a sense that life would continue and that not all things are resolved, later seasons would end with Dallas-esque cliffhangers of the "Who will live! Who will die! Come back in October to find out!" variety. One season faded to black as three characters were in a car that went off a bridge and into the water; another ended with a doc being trapped beneath the thundering masses at an antiwar demonstration. In fact, my actual last straw with the show was one of those cliffhanger episodes, when a bunch of criminals burst into the ER itself and shot the place up. The Moldavian Wedding Massacre worked on Dynasty because, well, that was Dynasty. On ER, it was just stupid. I never watched an entire episode after that.

And it wasn't just cliffhangers and bad ensemble stuff, either. ER just settled into a monotonous sameness over time. In the early seasons, they knew how to change things up in ways to keep things interesting, but when they would do that in later years, they would always do it in exactly the same ways. For some reason, the showrunners became fascinated with the idea of the big-city ER docs going off to work in squalor in Africa, an idea which was interesting the first time but became less so each time they did it after that (and it was a lot). You could also always count on the Big Name Guest Star to show up to play either the Seriously Ill Person, from whom one of our docs would learn some kind of life lesson, or the Colorful Family Member, which would yield some soap opera stuff. James Cromwell. Bob Newhart. James Woods. Sally Field. Alan Alda. Lather, rinse, repeat. Some of these episodes were actually pretty good, strictly speaking, but there would still be this air of "been there, done that" hanging over them.

Why did this all bother me as much as it did? Because when ER was good, it wasn't just merely good. There was a reason that the show took the country by storm back in 1994, and it wasn't just all the WHOOSH steadicam stuff and the rapidfire medical dialogue and the bloody trauma stuff. It was, for all its new-ness, a very good show. It was, week in and week out, for four or five years at least, just a great thing to watch. One of its masterstrokes was to show not just doctors in different specialties at work but to include students in the mix, so that Dr. Carter became our "gateway" character to this world. Some of those individual episodes still stand out for me and, I suspect, many other people who remember the show from back then. "Love's Labor Lost", for example. This was the first time the show departed from its general formula of lots of patients in an hour to follow one case. A mother in labor is wheeled into the ER, and as Dr. Greene tries one thing after another, her labor spirals out of control until it's a tossup as to whether he can save mother, baby, or either. He saves the baby. The mother dies. It was a brilliant episode that had ramifications for Greene's character that would play out for years to come.

Season two brought a storyline focusing on a troubled Dr. Ross that culminated in one of the most riveting hours of teevee I've ever seen. Ross is on his way home, in a downpour, when he's stopped by a kid whose brother has become trapped in a drainage culvert. And still later on that year came a heartbreaking episode in which one of the EMTs they deal with regularly is severely burned in an apartment building fire. There were a lot of episodes like that, back when ER was great. And yes, it was. Even after it started to lose me, it had some moments. The episode in which the ER staff learns that Dr. Greene has died was, for me, a far more fitting sendoff for that character than the episode a week later that backtracked and showed the last month of his life. (The episode opened with Dr. Carter reading a letter to the ER staff from Dr. Greene, who had gone to Hawaii to spend his final days. Only at the end of the letter does Carter notice the handwritten postscript from Dr. Korday -- Dr. Greene's wife -- that Mark had died. Carter posts the letter on the bulletin board, and the rest of the show depicts a day in the ER when everyone has to mull over Greene's passing, until the end of the show, when we flash forward six months or so to see the letter still on the bulletin board.) The show's two-hundredth episode was a late standout, showing Drs. Carter and Pratt treating the same patients twelve hours apart.

Obviously, since I haven't watched ER in several years (the "ER Massacre" happened, I'm not going to miss it now that it's gone. For me it was already gone. But I still salute it for what it once was.

Sunday, April 05, 2009

Unidentified Earth #62

First, the housekeeping. UI 59 was identified by Aaron as the Beartooth Highway, a road that winds through the alpine country between Montana and Wyoming in the vicinity of Yellowstone. Yay, Aaron! But UI 58 remains Unidentified, although Aaron is again on the right track. Perhaps what is throwing him off is the fact that the objects built here for the filming of the movie that was shot here are now no longer there? Anyway! And thus far, zero guesses on last week's UI 61. I guess we're not burning it up on that one, huh?

And now for the newest installment!



Where are we? Rot-13 your guesses, please!

Sunday Burst of Weirdness

Oddities abound!!!

:: Everybody remembers the theme song from Dallas, right? And everybody remembers the opening credits to the show, right? The way they were presented? Well, if not, here's a refresher:



One of the best teevee theme tunes ever, in my opinion.

But anyway: what if, say, Star Wars had been done this way?



Or...Star Trek: The Next Generation?



Would they have done a "Who shot Darth Vader?" thing?

:: Lynn links the latest whacko theory: Mother Teresa was a man. (Of course, the story is dated April 1...and it links, for "further information", a story at The Onion, so....)

:: As dumb as I find the fighting in hockey to be, this video made me laugh a lot, for some reason. Maybe it's because there's something inherently funny about watching goalies, with all the extra crap they have to wear, going at it...combined with the slippery ice...I dunno, but I laughed. And two of these involve Sabre goalies!



:: It turns out that getting married in the Electronic Age can have some potentially unpleasant consequences. I wish I could help, but I don't know either Bruce Sterling or his wife. But seriously -- really?

Just don't tell my father....

Kevin Drum is nonplussed by something he read in the WSJ: a Canadian named James Stewart who got freakishly rich by writing calculus textbooks. As Kevin says, "You can earn millions writing calculus textbooks? Seriously?"

Well, this isn't much of a stretch, is it? Here's the guy's website -- he has written a number of texts, which seem to have each gone to multiple editions, which implies that his textbooks have been adopted by more than a few math programs around. Calculus is, I assume, one of the more frequently taken courses in colleges throughout North America. Many kids take Calc I just to get their math requirement out of the way, and many, if not most, of the science majors require Calc as part of the major. And you can probably throw in high schools that offer their own Calc course for seniors.

So if this guy has written a text that gets used in, oh, just ten percent of the undergraduate programs in the US and Canada, that's a hell of a lot of copies of his book being moved every year. And I'll bet his text gets used a lot more than that. One of Kevin's commenters notes that Stewart's book is used at Penn State University. That's a big campus, right? I'll bet the number of kids who have to buy that book every year at Penn State is in the hundreds. And I remember how awfully expensive textbooks were when I was in college, nearly twenty years ago; I wonder how much they are now? Shudder!

Maybe this doesn't seem at first glance like a field one should be able to get filthy rich in, and one probably can't these days, since Stewart may be dominating the market with his books. But this certainly seems to fall into the category of "Nice work if you can get it."

Saturday, April 04, 2009

Yee-oww!!!

Well, it finally happened the other day: my first power-tool related injury. Yay, me!

No, I didn't lose any digits or suffer significant blood loss. But the middle finger of my left hand has seen better days, let me tell you! What happened was this: I was cutting a small piece of wood on the miter saw. Unfortunately, I failed to note the presence of a nail in the piece I was cutting, which was my major mistake on this procedure. Of course, the whirling blade of the saw hit the nail, causing the tiny piece of wood to buck. One piece, on the opposite side of the saw from me, shot off in a straight line, while the other attempted to shoot off in the exact opposite direction. Its trajectory was blocked, however, by the tip of my middle finger.

The impact actually caused my fingernail to split right down the middle about a quarter of an inch, and of course there was some bleeding. It didn't hurt much, though -- it went straight from normal to "really numb". I quickly ascertained that nothing was broken inside there, as I was able to wiggle the finger without any pain, but I could already see the large bruise forming underneath the nail, and within an hour, the whole tip of that finger was starting to swell. I cleaned it out nicely, bandaged it, and went about my business. And I still had to get that wood cut down to what I needed for a job, so it was right back to the saw. Hey, if the horse throws you, you get right back on, no?

Over the next day or two, my finger proceeded to do this really neat thing where it slowly shifted colors from normal to red to blue to purple to black-and-blue and then started to fade back toward normal again. It was like having part of my body acting as a mood-ring, but where all of the colors stood for "Ouch". By the second morning after the mishap, the finger had started to revert to normal size after some pretty impressive swelling, and now it pretty much feels normal except for the front part of the nail, which is still split, of course. Nothing to do about that except wait for that part of the nail to grow out. If the nail weren't split, I probably wouldn't even be wearing a bandage on the finger at all, but I discovered that the problem with having a nail split like this is that if it's not bandaged, the jaggy split in the middle tends to snag on stuff, which is exactly as unpleasant a sensation as it sounds.

The upshot is that having this bandage on my finger makes typing a bit more of an adventure than it usually is. I'm hitting 'backspace' more often than usual. (For instance, in the just-concluded sentence, I originally had an 'r' in 'often'.) Oh well, it's the perils of the job, no?

But hey, I got the job done. Because, hurt finger or no, I'm a pro.

Thursday, April 02, 2009

Something for Thursday

Film composer Maurice Jarre died earlier this week, so it is fitting that I devote this week's Something for Thursday to him. I didn't like the movie, but the score is beautiful. Here, from Dead Poets Society, is "Keating's Triumph".



Thanks for the music, Maestro Jarre.

Wednesday, April 01, 2009

Where I chickened out


Rainbow , originally uploaded by Four20moon.

Just saw this on Flickr. Last time I geared up to do some tie-dying, I briefly considered doing this, and then decided it would be too weird even for me. I'm glad that someone's willing to go where I fear to tread, though!!!

My so-called high school life

I snagged this from Roger:

1. Did you date someone from your school senior year?

No. I went on exactly one date in high school, a few months before graduation, with a girl from a different school. I was evidently unimpressive as a date, since my three or four calls for a subsequent date were blown off with the "I'm busy" excuse.

2. Did you marry someone from your high school?

No.

3. Did you car pool to school?

No. I rode with parents until I got my license, after which time I drove myself.

4. What kind of car did you drive?

Volkswagen Rabbit.

5. What kind of car do you have now?

A Plymouth Acclaim.

6. It's Friday night...where were you (in high school)?

Sitting at home, watching a movie or listening to classical music.

7. It is Friday night...where are you(now)?

Maybe out to dinner with the family, or watching a movie with the family, or something else. With the family.

8. What kind of job did you have in high school?

I didn't have any jobs until after senior year, when I worked in Technical Services at the St. Bonaventure Library.

9. What kind of job do you do now?

Maintenance for a large grocery store.

10. Were you a party animal?

No.

11. Were you considered a flirt?

I have no idea. Maybe? Hmmmm....

12. Were you in band, orchestra, or choir?

Band. (Trumpet.)

13. Were you a nerd?

Maybe? Probably? Hmmmm....

14. Did you get suspended or expelled?

No, just detention a couple of times for cutting class and using the back stairwell. (Yes, that was a thing. Our principal declared that stairwell off-limits for some reason.)

15. Can you sing the fight song?

Did we have one? I remember the first line of the "Alma Mater" song: Mid the hills of Cattaraugus stands a high school fair.... (Hey, I didn't write it.)

16. Who was/were your favorite teacher(s)?

I liked my 11th and 12th grade English teachers a great deal. Funny thing about the 12th grade teacher: she'd also been my 8th grade teacher, and she hadn't been very good at that. But she was quite good for 12th grade. I also liked all of my history teachers, particularly the 11th grade one.

17. Where did you sit during lunch?

Wherever my friends sat. We weren't creatures of habit on that score.

18. What was your school's full name?

Allegany Central School. It has since then merged with a town called "Limestone" to become "Allegany-Limestone".

19. When did you graduate?

1989.

20. What was your school mascot?

We were the Blue Devils. (Now they're the Gators, which is just plain wrong.)

21. If you could go back and do it again, would you?

Doubtful. It wasn't awful, but it wasn't Teh Awesome, either.

22. Did you have fun at Prom?

Didn't go.

23. Do you still talk to your prom date?

Didn't go!!!

24. Who was your best friend?

Mr. Jones, before he moved away.

25. What did you want to be when you grew up?

At that time, an orchestra conductor.

26. Any regrets?

Well, I spent most of 11th grade chickening out of asking one particular girl out. Not that she'd have said yes, and certainly not that we're lost soulmates or anything, but it would have been nice to have been a tad less gutless. (In my defense, I'd been rejected in fairly definitive fashion the year before, which made me pretty gun-shy on that point.)

27. Biggest fashion mistake?

I dunno. It was the 80s. There were kids who made fun of me for not having the right brand of jeans, but I didn't much care.

28. Favorite fashion trend?

Well, it was the 80s, so...I guess "Big Hair". Girls who had long hair with nicely poofy bangs. I also liked the whole "acid washed jeans" thing.

29. Are you going to your next reunion?

No idea...haven't been to one yet, but this will be 20 years. (I can't believe I just typed that.)

30. Who did you have a secret crush on?

Secret crushes are a waste of time. I wore my crushes on my sleeve.

31. Did you go on spring break?

No.

And I guess that's it.

Gadgets and Gizmos

It's been a bit eventful here at Casa Jaquandor; we've done our part to stimulate the economy by purchasing stuff. We're just about done, but we now have:

:: A 32-inch flatscreen teevee. This is wonderful. Just wonderful. This week, we will celebrate our first Family Movie Night with the new teevee by watching something that looks cool on a big teevee. I'm thinking, something with rocket ships and space princesses. Yay!!!

:: We had to get a new digital camera to replace the other one, which has gone fritzy, unfortunately. That old Kodak EasyShare served us well for more than two years, and we got more than our money's worth out of it, since we paid about eighty bucks for it two years ago. It amazes me how electronics prices evolve: the replacement camera (same brand) was the same price, basically, as the old one, and it has twice the megapixels and twice the storage capacity.

:: We have a replacement computer monitor on the way. The old one died, and we've been using this awful dinosaur of a monitor for a few months.

:: Finally, I got an MP3 player. It's a small one, only 4GB of storage, but I don't need a lot of space on it. It's cheap and basic, but that's all I really need: just something to hold and play a few hours of music when I'm on the go. Fun!

And that's about it. As I noted, it's now up to someone else to get the economy moving. We've done our part. (And frankly, given how we were able to afford some of this stuff, I think we'd much rather have not come into a small bit of money in quite this way. In other words, thanks, Mom-in-Law.)