May 14, 2012
OUTSIDER MUSIC PART I: Smiling through his own personal hell: Daniel Johnston

I remembering being sat on her bed and studying the wallpaper that slipped through the gaps between the wrinkled posters that she’d stuck all over. It was white with blue flowers and I recall vaguely wondering who had slept in this room before she did. We were at one of those natural lulls in the conversation and the iTunes playlist comprised of Lou Reed’s best moments was coming to a whining dissonant close. She excused herself to go the bathroom, and I saw a chance to pull the diesel engine cord of the conversation again. I plugged in my iPod and quickly went through artists that I thought would impress her. She’d already poured scorn on my favourite band (They Might Be Giants) but I’d impressed her with my love of John Darnielle’s lo-fi poetry, The Residents scary electronic mental illness expressed as music and my knowledge of 90’s grunge and alternative. So clicking through the artists, I landed on Daniel Johnston. Of course, I thought, a mix of The Mountain Goats brilliant lyrics, The Residents’ madness and 90’s alternative music. This would impress anyone. She walked back in, treading carefully over her dirty clothes and discarded items that littered her floor and I said ‘You have to hear this guy’. She nodded and smiled, returning to sitting cross legged on her floor, and carried on absently rolling cigarettes for the coming week. The song began. The slightly out of tune guitar strumming in a sea of faint white noise and then Daniel began singing, in his wavy croaky out of tune voice. I don’t recall the song, but I remember it was one of the earlier ones. She cocked her head on one side and frowned, as if listening intently.

Then she turned to me and said “…What the fuck is this?”

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March 4, 2012
The nicest of the damned | the cult of They Might Be Giants

A random day in summer 2004. I’m 13 years old. I’m on the floor of my attic room and everything smells like heat. I’m curled in a ball and coughing up blood after a particularly savage beating administered at the hands of my stepfather. I’m clutching my stomach and I cant quite pinpoint where the pain exactly is. Abdomen is the best I can do. Somewhere in the middle. I roll over on to my back and the shine from my window blinds me. Below me the heat drifts upwards through the carpet. The heat radiates through the window in scorching waves and onto my face. My blood is congealing down my cheeks. As far as I’m concerned this is a room made of heat. This is hell. 

This memory is what immediately comes to mind when I hear the album “Flood” by wacky/geek/nerd/odd/bizarre/alternative rockers They Might Be Giants, an album home to the lyrical observation “everybody wants prosthetic foreheads on their real heads”. Perhaps not most peoples audio comfort blanket. 

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February 6, 2012
Future words #1

Future words #1

February 5, 2012
Googling Stem Cells: In defence of X Files 2: I Want to Believe

Ok, this isn’t a great movie. I wish it was. I was at the uk premiere of what-should-of-been-the-pop-culture-event-of-the-century, and even I with all my biases toward this - personal and fandom based - I can’t hold this up as a great science fiction thriller. Here, as proof, one of my photos from said event:

Who else would claim a photo that makes David Duchovny look like some kind of sexual demon, is theirs? No one. That’s who.

So here I will stand up. While X Files: I Want to Believe, is not a great movie - I contest that it is at the very least a good movie. The trouble with “Good” movies is that it’s almost a bigger crime to be average. If you’re an awful movie, chances are the online MST3Kers like Spoony will give you a second lease of life. If you’re a great movie, even if no one goes to see you, someone in a forum somewhere will recommend you and defend you vehemently. If you’re average, you just fall into the white noise. The white noise was exactly where X Files: I Want To Believe (from here on in IWTB), fell.

So why? Why did a show that was once the most popular on earth, become such a dull commodity?

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November 30, 2011
Ten Great Christmas TV Specials.

I was always disappointed when at Christmas time because not every single programme was actually about Christmas. In the trailers for Whatever-Channel’s Christmas line up, there would always be scenes from a dozen Christmas specials, each showing a little slice of perfect snow on rooftops, bright Christmas decorations glowing in the night and animated Santa Clauses, accompanied by a Christmas favourite that you’re not totally sick of yet or a reworking of one you are sick of,  in a totally different way. I’m waiting for a trailer accompanied by Steeleye Span’s version of Gaudete or Greg Lake’s I believe in Father Christmas, as both are criminally underplayed.


So after watching Christmas TV for years, I’ve come accustomed to seasonal disappointment in that department. In a four hour programming block of cartoons, you usually see one seasonal episode. Sometimes there’s an attempt to be seasonal - Some versions of Phineas and Ferb’s awesome Christmas episode “Phineas and Ferb’s Christmas Vacation” end with the episode “S’winter”. It’s set in the summer, with the boys trying to make wintertime in the summer, but it’s still an attempt and I appreciate it. It’s twice as disappointing when sometimes they pair “the seasonal version” of the show’s theme with non-seasonal episodes. So you get the superficial snow falling in front of the opening titles, and the music with the lazy church bells and the even lazier jingle bells, and then an episode about summer. I find this practise worse than anything else about holiday programming.

So, anyway, my personal disappointments with the seasonal fare offered on my television aside, the seasonal episodes that there are, are great. Many are overlooked or treated as a bit of a one shot. Something that doesn’t really count as an episode, so therefore it’s not as important. Christmas specials provide some of the most rewarding television because of the effort that goes into them – they know it might be the only thing you have to watch come Christmas day.

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November 27, 2011
Jack Frost (not the one with Micheal Keaton that you secretly quite like)

Somewhere, someone got very drunk and decided this movie was a good idea. Then, they sobered up and still thought it was a good idea. They told a friend of theirs about this, and they too thought this was a good idea and that they should get more people interested. The script was written. More people decided this was a good idea. This pattern of people agreeing that it was a rather good idea and not a single person casting scorn upon the premise contained within, continued until someone actually gave them the money to make the film. When you start analysing it, from concept to screen and beyond, hundreds of people have to have decided this was a good idea. I mean, there’s a sequel. People have to have bought this. Some more than once after video became an obsolete format. Just think about that. That feeling washing over you? That’s any empathy you may of felt with humanities plight, leaving your body.

So I guess we should begin. This is Jack Frost: A movie about a serial killer who becomes a mutated snowman. If any of that sentence made this sound like a movie you would quite like to see, you need to seek professional help.



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November 25, 2011
So. News.

Finally, even though my life is in the same sorry state as before, I am making some updates.

  1. Name change - MidnightShowing. The old name(s) were just far too long. MidnightShowing might make this whole thing seem more film orientated than it is, but it’s the best I could think of. 
  2. It’s past thanksgiving, so let me introduce (We do graphics now. Graphics are cool):
  3. We have a schedule! I’ll give it a more permenant place in the next few days, but this from now til christmas.

November 24, 2011
Santa broke his neck: Why Gremlins is the best Christmas film ever made.

Maybe “Best Christmas Film” is pushing it a little on my part. It’s a great film, and it’s set at Christmas. It’s also one of the few films that has gone from “horrifically over merchandised” to “Oh yeah… I sort of remember that film… was it on TV a while back?” which is an odd kind of achievement in itself.

If you haven’t seen Gremlins, I don’t know why you’re reading this. For your benefit, I’ll do my best to explain the plot, which in all honesty is paper thin: A teenage boy (Billy, played by Zach Galligan) receives a Christmas gift from his father (a hapless inventor, played by Hoyt Axton): a strange creature known as a “Mogwai”. The Mogwai comes with a set of rules, that you must never ever break: never expose it to bright lights (especially sunlight, which will kill it); never get it wet (which will make it multiply); and never feed it after midnight (which will turn it into a gremlin). As you may of guessed over the course of the movie every single one of these rules is broken, because rules only exist in movies to be broken (and to remind us to that rules are there for a reason, but I’ll come back to that). Phoebe Cates (the one who’s bikini drop in Fast Times at Ridgemont High makes my stomach do flips and who plays the lead in the criminally underrated Drop Dead Fred) plays Billy’s girlfriend Kate, who has the best speech in the entire film (which Speilberg wanted to cut, amazingly). Things are fine for roughly ten minutes of screen-time and Gizmo (as Billy names his Mogwai) gurgles and smiles a lot. This ten minutes is crucial, as it is just long enough to make any tweens watching beg their parents for the soft toy that Christmas. At roughly the ten minute mark Corey Feldman accidentally gets Gizmo wet because, well, of course he does and all hell breaks loose. This is where it gets very hard to summarize. What happens next is pretty much insanity until the closing sequence, and revealing that would ruin the joy of it for you people who’ve yet to see it.


Gremlins, is that rare film that doesn’t quite know what it wants to be but succeeds anyway. Is Gremlins a horror-comedy? A fantasy-comedy? A family-friendly comedy? A loony tunes style live action cartoon? A social critique on over dependence on technology? - in all honesty Gremlins ends up all of these at different points and succeeds in each. Written by Christopher Columbus (Who later went on to piss all over any credibility he had by making Harry Potter movies), the original script was much clearer in its intent: it was a horror film with splashes of dark humour. Scenes that populated Columbus’ first draft that were later altered or cut include: Gizmo turning into the lead Gremlin Stripe, the Gremlins eating Billy’s Dog, Billy’s Mother being beheaded and her head bouncing down the stairs, the Gremlins going to McDonalds and eating people but refusing to touch the burgers… you get the picture. Columbus’ didn’t even intend for his script to get made. It was a writing sample that he used to show his range. This is probably partly why the tone shifts so much - Columbus wasn’t writing a film for the screen, he was writing to show his strengths. So sometimes, there’s a lot of family friendly, all American banter, sometimes he zooms in on the subtle nuances of a young romance, sometimes he writes scenes as if they were thrillers and sometimes he writes over the top, ultra violence. This isn’t a criticism, but it helps explain why the structure feels almost episodic and sketch like and why the tone is in places horrifically uneven.

To put on my thinking hat (it’s uncomfortable and makes my head look larger), the film is an interesting critique of society. Criticism of western society, and it’s tendency to destroy itself, run throughout director Joe Dante’s work (most prominently in The ‘Burbs) and Gremlins seems to be the beginning of that theme (although it’s been a while since I watched The Howling). The Gremlins of this film represent a single ever present part of society. The Gremlins are shown to glutinously crave food, and then waste much of it. They eat more than they could ever want or need. They wantonly destroy things with no rhyme or reason. They talk in the cinema, and laugh inappropriately. They dance to extremely loud music. In other words, these Gremlins are teenagers. They represent the modern teenage, desensitized by over consumption. What you should note is, they didn’t have to be like this. There were simple rules to keep it from happening. Gremlins is a criticism of the modern teenager, and the lack of discipline that breeds it. Joe Dante and Chris Columbus show us that when the rules are obeyed, nothing goes wrong (look at how cute Gizmo is, at how little trouble he is). As soon as you break the rules, or just plain ignore them - Stripe happens. The Gremlins happen. Anarchy happens. A lot has been written comparing the Gremlins to racial caricatures, but that’s not it at all. They are general caricatures of the young, and by being that they open up the vein the film mines - that discipline among the young in wealthy western society is crumbling and will lead to anarchy. Think of who the Gremlins pick on: the age old enemy of Holden Caulfield: Authority figures. The pair left to sort it all out are Billy and Kate, the young couple. Throughout the Gremlins reign of terror they are clearly overwhelmed with no idea what to do. Billy and Kate are clearly the parents of the situation. They let it get out of hand, and it’s gone too far for them to do anything. Gremlins is a western nightmare, and that nightmare is the teenager.

Gremlins is a great movie. The black comedy sits so well with the Christmas theme. The bright lights of the decorations and dark nights sit well with the darkness of the theme. There are several little moments - when the Gremlin wears the Mickey Mouse ears in the cinema, Mrs Deagles cats all being named after currency to name but two - that warrant a rewatch (as with all of Joe Dante’s films).

Also, that speech.

November 2, 2011

update:

So, after I spent two weeks working on a post entitled “The X Files, Rape and science fiction”, I was thrown out of my house on Halloween and left behind the external drive with the 8 page magnum opus upon it. However, while we wait for the return of that drive, I felt a post was in order.

September 30, 2011
I Want To Believe: Faith, Religion, Belief and The X Files

(This is the first of three posts on The X Files. So prepared for the follower loss with these, I love this show)

Sometimes, I think The X Files deserves more credit than it gets. I often wonder why it doesn’t have a more Star Trek type following (I mean it does still have fans and “philes” who kick around the dark recesses of the internet, but I’m yet to find the MMO video game, the next generation TV series and the expanded universe spin off novel series). It was a landmark not just in science fiction, but in terms of narrative dramatic television. It rounded off Twin Peaks weirder corners, focused more on the mystery while retaining a relationship with the leads (the mytharc episodes reminding you, why you care about these characters) and set the blue print that many shows follow today - the stand alone/mytharc episode structure. A sort of mix between anthology and serial. It also showed that you could make a show that appeal to almost all genre fans; romance aficionados loved the sexual tension between the leads, horror fans liked the scares and gore of the stand alones and science fiction fan-boys loved the complex mytharc with it’s abduction and alien invasion storylines. In terms of fandom, the show set the blue print for the future of fans everywhere. The X Files updated the jargon for the first time since Star Trek many years before, adding “shipper” and a few other terms to the fandom jargon we all know and argue about today. In many ways, it’s the X Files fault you have those vicious canon/non canon wars on Forums, way into the early hours.

If you’ve never seen the show, look away now. This post isn’t for you. This post is probably in all honesty, going to grab the attention of ten people, and be read by less than half that, This is going to delve into some deep canon. I swear, this is going to have footnotes (it’s not, but if I was writing in a format that allowed them to be implemented easily, I would put them in).

The most obvious theme in The X Files, when we remove David Duchovny’s inability to actually cry, is that of belief. It deals with this theme in two ways. One is the most obvious, namely Mulder’s belief in the paranormal and Scully’s lack of belief in it. Mulder is portrayed and maverick and unorthodox. Scully is rational and scientific. She channels his Sherlock Holmes streak of ingenuity into more official channels, and bases his abstract theories in reality. There are numerous occasions where Mulder suggests something outlandish and abstract and Scully’s ever sharp Occam’s Razor forces him to cut it down slightly, into a more rational (albeit still fantastic) explanation. The second way these themes are explored is in an interesting and subtle reversal of the roles: It’s never explicitly stated, but Mulder’s rejection of all Scully’s religious based theories and the incredulity as he does so, seems to point towards atheistic beliefs (or lack their of, as that is what Atheism truly entales). Scully on the other hand, with all her rationality, always wears her gold cross around her neck, first as a totem of family and strength, then finally as a symbol of her Catholic faith. Even when she’s less religious, the hints to her beliefs and upbringings scattered like toys from an upturned toy chest within the narrative (beginning with Season One’s Beyond The Sea).

The second way, was so subtle as to be under appreciated by the casual viewer and indeed, the casual reviewer. The Skeptic/Believer was so subtly reflected back on itself, that it was easy to miss, and was therefore never really commented on in any form (except of course in the wonderful book “The Philosophy Of The X Files” which is worth owning, if for nothing else, for the quote where Richard Dawkins expresses his hatred for The X Files and compares atheists to black people).

The I Want To poster that hangs in Mulder’s office from the start to finish, is the shows stained glass window. Rather than a picture of a saint, or angels, Mulder has a UFO hovering above trees. The Impact white text reads “I Want To Believe” and that’s all there is to it.. It’s so simple, it even looks cheap, and when Mulder admits in Chinga that he got it from a headshop “down on M Street” (Which I always took to be a reference to William Peter Blatty’s The Exorcist, but it turns out to be an actual place), it makes perfect sense. It’s cheap and trashy, and shows the disdain that his belief system is held in. It’s the same belief system that trashy people who buy bongs in headshops share. It’s not the sort of thing an oxford educated FBI agent should go in for. The poster serves a secondary purpose, providing us with Mulder’s mantra, his raison d’etre, and puts the dots at the ends of all the ambiguous endings. Mulder doesn’t really care about putting Flukemen and liver eating mutants behind bars or into cages - if he achieves it, Good, but that’s a secondary goal. What he wants, what he needs is to know these things are out there. To know that there’s a man who can eat livers and live for hundreds of years, to know that planetary alignments can make two girls turn murderous, because to Mulder, if those things exist.. then everything else might. It’s as if he’s filled his vacuum of faith, with the paranormal. He even compares his search for the truth with God at one point (in Gethsemane, season four).Scully on the other hand seems constantly on the cusp of belief for the first few seasons. It’s often pointed out by television critics doing retrospectives who believe themselves the very height of wit, that Scully should believe because she sees aliens and monsters every week. She does believe - but not in that. Watching the show back, it’s clear that the more Scully sees, the more the Catholicism of her upbringing shines through. It’s as if, now the science she has studied all her adult life has failed her, she slowly returns to her faith. Now she can’t make sense of the world anymore, now she realizes that the human method of putting things in nicely labelled boxes, with smaller boxes inside (like Russian dolls all the way down to atomic level) has failed, God is all she has left. The final push comes, when she finds she has cancer. Doctors can do nothing for her, except basically wait for her to die. Haggard, panda eyes and sunken cheeks, she tearfully breaks down to her mother and in doing so, reaffirms her Catholic faith to her mother. This leads to an interesting path for the series, which is Scully finding a role for her faith in, not only her life, but modern life in general. It’s demonstrated her faith is unshakeable (even in Season 7’s the sixth extinction, where she finds Biblical texts on a crashed alien craft, she doesn’t seem to see it as anything that disproves her faith), and that it’s her ultimate fail safe, the core to her existence. A long time ago, whilst watching the episode All Souls (season 5), I decided that Scully’s faith served as a black box for her. It kept her together, and when confronted with something she doesn’t understand, it kicks in a makes sense of everything, recording it for future reference. As the show goes on, her Black Box stores a wealth of information, and that’s why she becomes more catholic, becomes more of a believer in everything by the shows end, because that’s how all this fantastical information has been store and processed - as religious phenomena. It’s a theory I’m not sure I agree with anymore, but worth noting none the less.

Scully seems to find Mulder’s faith vacuum perplexing, and tries to unravel the mysteries behind him by attaching meaning to the pointless trinkets and debris of his life. In Tempus Fugit/Max, she attaches such meaning to a medallion commemorating the Apollo 11 flight that Mulder gives her, she almost makes it a secular rosary for Mulder’s cause. A symbol of his intent, making it almost tragic when Mulder cuts down her poetic musings with “I just thought it was a really cool keychain” (The fact she later gave this keychain to John Jay Doggett in season 8, has given DanaDoggett license to be incredibly annoying ever since). She takes to viewing his cause as a quest and crusade for his belief. She gives it a religious meaning, and adopts it as her own. Almost as a kind of penance and pilgrimage rolled into one, something she must do, has to do, to make up for all of the bad things that have occured ini her life.

Mulder’s actual faith, appears to be agnostic, despite his incredulous view of religion. He’s seen in a church at the end of Conduit, and makes a view religious jumps of his own, without Scully’s input, pointing to at least some religion in his life at some point. My personal belief is that he had faith up til the disappearance of his sister, where both he and his family lost it, in the subsequent futile search and divorce that followed in the aftermath. He replaced his faith in religion with faith in the paranormal, in alien abduction. It’s probably worth noting that while Duchovny described Mulder as jewish, he has Christmas decorations in his mothers basement (Paper Hearts, Season 4). Then again, he also appears to have been married in Three of A Kind, so lets just assume that there’s several Mulder’s knocking around who all share one consciousness, but different memories. It’s a good enough for me.

The X Files, was the most popular show of it’s time, and it was insanely well thought out, intelligent, and wonderfully acted. If you think about the fact that this show contained so many themes of such depth and power, and compare that with the poorly acted autotune of Glee, and wonder what happened to popular entertainment.