The Menu

Having a perspective is hard, especially when you don’t give a shit about anything.

And it gets worse: you may not give a shit, but you still desperately want the attention that comes with being involved in the zeitgeist. This kind of problem is to a wealthy person what a real problem is to a poor person.

So what’s a lazy narcissist to do?

Just say shit, padre. Never stop saying shit. Say all the shit, always; bury your audience in words. It doesn’t matter if those words mean anything – all that truly matters is that people are paying attention to you. You need the attention. You live for the attention. When this cultural moment passes you will simply shrug and move onto the next one. You care about nothing. You somehow believe in even less. Your voice is like a fetish that only you have.

The Menu

If the only way you can satire a community is by making the members of that community act in ways that no functioning human would ever act then you need to get better at satire. It undercuts whatever legitimacy your commentary may have if you’re waging a war against strawmen.

The Menu’s writers fancy themselves too smart to settle on a clean thematic through-line such as “workers should revolt, for the rich are a cancer.” The problem is that in their iron-clad confidence that they have something better up their sleeves they forgot to have something better up their sleeves. It’s not a great look to mock the other kids who are trying to solve the equation on the whiteboard, only to get up their yourself and suddenly remember you don’t know how to count.

Here is a list of incredibly dumb shit that makes me very angry:

  • No explanation is ever given as to why Slowik’s employees have become a cult, or why they are willing to die for their boss. I thought the consuming class is draining the dignity out of the efforts of the producing class? But the producing class are all psychopaths anyway? So everyone is evil? Labor is both purifying and corrupting? What?
  • Watching this movie whip out snark as a narrative get-out-of-jail-free card is like watching someone discover internet memes and think they’re blowing everyone’s mind. Snark isn’t a perspective. It’s an affectation. Just portraying everyone in the worst light possible doesn’t mean you have anything interesting to say about them.
  • Slowik’s extended pontifications are so nonsensical I can’t even parse them all without this article becoming unreadably long. Almost everything he says directly contradicts everything else he says. This would actually work if this movie was just a fun horror-comedy about a chef who’s lost his mind. But, no – there are clearly supposed to be Compelling Arguments About Important Issues on display, here. We are supposed to believe he is at least making some logical arguments. He is not.
  • OK, I lied, I’ll do one specific example: Slowik claim’s he’s murdering these people for having no appreciation of his art, but he also hates Tyler for trying too hard to have an appreciation of his art. See what I mean when I say this movie only really works if Slowik is just crazy?
  • “We’ll never be able to escape – Slowik’s people have dinner knives!” is so idiotic that the screenplay feels compelled to throw in a handwave-y line at the end of the movie to explain that the real reason that the guests didn’t leave was some kind of collective will-to-death, a mindset never displayed by any of them at any point in the story. It’s an idiotic gap in the logic of the script papered over with an even more idiotic attempt at pseudo-psychology. I hate this movie.
  • In the final moments of the movie the guests quietly accept their deaths. They seem to even be agreeing with Slowik’s arguments. Except in the scene directly proceeding this one, when the guests think they are about to be saved by the Coast Guard, they scream things like “He’s fucking crazy!” about Slowik. This movie is like having a stroke.
  • It honestly feels like this movie realized how inane its supposed points about class distinctions are and at some point during production decided to pivot into black comedy and snark. It’s like telling someone you love them and then, upon receiving a blank stare in return, quickly yelling, “Haha! Just kidding!”
  • Cashing in on the #MeToo movement by including a scene in which Slowik acknowledges that he made unwanted sexual advances on a female co-worker is beyond cynical. His predations are never mentioned before or again and inform nothing else in the movie. They’re only mentioned in one bizarre and pointless scene because the writers know that #MeToo is a thing, and they want to invoke it in the movie to appear abreast of social issues. These people chase the zeitgeist like a dog chases a car.

The End

Last Night in SohoThe Menu, South Park, Urinetown and so many others fall into this weird, obnoxious, cowardly sub-genre of storytelling whose writers want the feeling of taking a bold stance on an issue while not having either the courage or the understanding to stake out anything like a potentially divisive position. They want the accolades without the risk, which isn’t how that works.

I mean, fuck, there’s a lot of annoying shit you can do in life, but “talking without saying anything” is one of the most insufferable. It’s the douchiness of Hollywood at its worst: “I, a famous person, do not actually give a shit about this issue one way or the other, and fuck me if I’m going to read an article about it, but I must say something – people must always know what celebrities think! For heaven’s sake, we’re famous.”

Give me a break. Fucking believe in something!

(The restaurant that Slowik was working at earlier in his career is called Tantalus. Jesus Christ, this fucking movie.)

Headlines VII

Nikola Jokić Spends Timeout Working On Piano Concerto

Man Struggling To Place Smartphone Cursor In Precise Location Knows It Would Be Easier To Just Delete The Word And Start Over, But That’s Not Really The Point, Now Is It

Hopeless Romantic Detonates Suicide Vest

Southern Belle Tired Of Tearing Open Perfectly Good Bodices, Needs Better Way To Show She Is Gripped By A Raging Passion

Chestburster Erupts While Host Is On The Toilet, Feels Like It Could Have Timed That Better

Man With Huge Penis In A Pretty Great Place, Dong-Wise

Far-Right Activist Will Finally Make Those Girls Sorry For Not Dating Him In High-Sch – I Mean, Return Our Nation To Its Original Values

Chuck Schumer Gets Entire Body Stuck In Urinal

Local Man Confident He Knows How Thing Works, Sees No Reason To Make Sure He’s Right

Woman Not Entirely Sure Why She Has To Send Nudes To Complete Law School Application, Trusts Alan Dershowitz Wouldn’t Lie To Her

Yorgos Lanthimos’s Next Movie Just Two Hours Of Guys Hitting Emma Stone With Cricket Bats

Cat Wearing Raincoat And Little Rubber Booties Has Never Felt More Alive

RFK Jr. Bravely Continues To Believe Every Single Thing He’s Ever Heard   

Simone Biles Vaults Beyond Kuiper Belt

Man In “Before” Part Of Infomercial Just Needs To Hold On A Little Longer

Well, Well, Well, If It Isn’t The Barista Who Laughed At Me Yesterday For Pronouncing Venti Wrong. Hey, Guess Who’s About To Accidentally Place A Pay Stub On The Counter So Everybody Knows How Much More Money Than You He Makes? Yeah, This Motherfucker Right Here, That’s Who

Batman Sends Joker To Arkham Asylum, Glad He’ll Never Have To See That Guy Again

Man Whose Mantra Is “I’m Here For A Good Time, Not A Long Time” Currently Wearing Seatbelt While Moving Cars Around In The Driveway

Man Who Sometimes Bursts Into Flames For No Reason Doesn’t Understand Why People Think AI Fails To Accurately Replicate Human Behavior

Father Trying To Calm Terrified Child Has To Admit That Under The Bed Is A Pretty Clever Place For A Monster To Hide; I Mean, Think About It, It Can Get To You Whenever It Wants

When You Call a Movie Pumpkinhead You Create Certain Expectations

Pumpkinhead

I should not be expected to think when I’m watching a movie called Pumpkinhead. I should be clapping my hands like a toddler. I should be admiring the fact that every kill makes the preceding kill look like a scene from My Fair Lady. The only part of my brain that should be stimulated is the one that gives you that weird urge to pick a scab. At least one character should have a katana, and there should be a scene where a baboon drives a tank.

This is neither the time nor the place for deliberate pacing. The father should not have a redemptive arc. No one should have a redemptive arc, because this movie is called Pumpkinhead. The only comment I should have while watching a movie called Pumpkinhead is, “hey, I haven’t seen Pumpkinhead kill anybody in a while – oh, wait, no, he’s killing someone right now. I was looking at the wrong part of the screen.”

Italy understands trash. I’ve never seen an Italian movie that makes sense, and I hope I never do. The entire giallo genre was invented for easily-distracted perverts, of which I am one. I love Italy. Italy invented the calzone, because “I want to eat a slice of pizza, but I can’t afford to stop moving,” is apparently a problem that once had to be solved.

Here are some suggestions to fix your movie, Pumpkinhead:

  • If the only thing the characters are doing in the second act of the movie is waiting for the third act of the movie to start, you need a better second act to your movie.
  • You set up dirt bikes earlier in the movie. Use the fucking dirt bikes!
  • If you’re placing the kills in your horror movie off-screen because you lack confidence in your ability to makes the kills anything other than laughably bad, you shouldn’t be making a horror movie.
  • You set up an army of filthy hillbillies earlier in the movie. Use the fucking hillbillies!
  • Give Pumpkinhead a gimmick. “He kills people offscreen because we couldn’t figure out how to make him look scary, and also the costume doesn’t articulate well,” does not count as a gimmick.

The End

I hold shlock films to higher standards than their mainstream counterparts because I consider shlock to be the nobler endeavor. There is no prerogative in a shlock film other than, “we must get people to watch our movie, by any means necessary.” This strips a production of all pretense – the unities of time and place, the rules of good taste, basic fucking logic, et cetera are all cast aside in order to keep eyeballs glued to a screen for ninety minutes. Anything can happen when you’re willing to let anything happen. “Dumb” is only a high bar to clear if you make it one.

Fucking Pumpkinhead, man.

Sentimental Value

Sentimental Value

I don’t believe in anything. Ham is good, I guess, and it’s cool when things are on fire. But I only like those things. I don’t believe in them.

Which is why I’m jealous of Joachim Trier. He seems to really believe in things! Believes the shit out of them. Believes with the passion of some kind of strudel-powered Danish believifying machine, one constructed entirely from Sincerity Steel, and paid for with grant money from the Dewy Eyes and Yearning Hearts Foundation.

Art is his focus this time around. If that sounds vague, that’s because it’s supposed to be – Trier likes casting his thematic net wide and messy. At a glance I’d say we’re dealing with art as a method of both expression and catharsis, but also exploring its therapeutic uses and how those uses are only ever a small step away from becoming a crutch, one with which you can hide from your true self, but paradoxically it’s also from within the safety of that same crutch we feel comfortable confronting the true self, assuming of course we don’t take advantage of our new condition of emotional obfuscation to shun the world outside and in its place craft our own narrative, inside of which we can hide even deeper still, which, let’s be honest, is probably what we’re going to do, irrespective of initial intent; however, it really might be that this Russian-nesting-doll approach is the very thing that gives birth to good art, and isn’t that what this is really all about – wait, no, no it isn’t, we’re trying to better understand ourselves through the power of storytelling, not mass-produce delusion and call it good product (are we even in the business of creating market-friendly products (is everything a product simply by being consumed (is it intent or reception, creator or audience, that decides the identity of a work, or is such a question inherently self-defeating?)?)?). Furthermore – holy shit, was that all one sentence? Kill me, kill me, you have to kill me (because perhaps it is only in death that we achieve our true self…)…

OK, so, Trier doesn’t give you something to chew on so much as he shoves an existential turducken down your throat and asks you how that big boy tastes. That’s fine. Everybody likes turducken. The new goal, then, is to keep things nice and simple.

We reset:

With great art comes great responsibility, so God help you if you’re a dick. You can use storytelling to either confront problems or hide from them, and your choice is probably going to be whichever you’ve been doing in real life. Take planet Earth’s worst father, Gustav. He’d rather live in a retelling of own his life as written by himself than deal with the real thing. In the film he’s making, one ostensibly about his own life, his daughter – a professional actor! – is played by another woman. What easier way to get the people in your life to act the way you want than to cast someone else to play them? Motherfucker doesn’t want expression or introspection, he wants control. There’s all sorts of nifty visuals to drive this point home – Gustav is always in black, Nora and Rachel are in opposite colors (black and white, respectively) during their only meeting, where they talk about the film Gustav is making. The lame-ass real daughter (decked out like her pops) is being replaced by the cleaner, purer, ideally more suggestible movie-daughter.

But it’s not that simple, because it’s never that fucking simple! Gustav actually does offer the role to his daughter before anyone else, in what she thinks is a cynical ploy to secure funding for the film. But it turns out he had the finances worked out beforehand, and he just sincerely wanted her to play the part.

So his intentions are noble, right? Hold your fucking horses, you heinous shit-monkey! Gustav wants his daughter to play a role in which her character commits suicide, because he strongly suspects that Nora has attempted it before (she has). Is he cynically trying to draw on her own personal torment for the sake of a good performance? Or is he connecting with his daughter the only way he knows how? Is he trying to dictate her own feelings to her, trying to control the real Nora’s emotions and perception of her own experiences by turning her into another one of his characters?

OK, so the upshot here –

I’m not done! It gets fucking weirder! The first time we see Gustav finally connect with a daughter instead of trying to control her it’s with his pretend movie-daughter. He comforts Rachel when she decides she can’t do the role justice and needs to pull out of the movie. Gustav reassures her that she is a fine actor, and a fine person. This is a level of humanity he has never shown to either of his two real daughters.

Except he has, because Agnes says that when she was a child and working with him on a film Gustav was real and present, genuinely engaged, and interested in her.

Get out of my fucking head, Trier, you precocious Danish warlock!

Honestly, if I have a knock against this movie it’s that the art-informing-life-informing-art-informing-life dynamic isn’t explored enough. Scenes that seem like they’re going to get nice and weird end up kind of stunted and sad-for-the-sake-of-emotion. There’s a scene where Nora collapses and cries in a bedroom, only for the camera to pull back into a wider shot in which it’s revealed that she’s on stage – maybe a play, maybe a teaching exercise, but the point is that she’s performing for an audience. After the reveal, the scene just ends, which is kind of scratching at the surface and then not bothering to go deeper. What if Nora had popped back up, suddenly cheery, and discussed her choices in that scene with the group of (let’s just say) students who were watching her? What was real? Is she pretending this is easy? Is she lying now, or lying when she appears distraught at other points in the film? Shit would’ve been deliciously fucking weird, but instead the scene just ends.

Also, not loving how Gustav gets everything he wants in the end. Nora acts in the film, his grandson acts in the film, both of his daughters seem to have forgiven him for the whole failed father thing, he’s making movies again, and everybody has just kind of accepted that dad can only connect through his art, so we should all be cool with his relentless shittiness. If that dude ran someone over with his car they’d probably apologize to him for ruining its resale value.

The End

Joachim Trier is the Death Star of being sad. He’s like if depression had a boss fight. But fuck me if the dedication with which he explores the intricacies of suffering – particularly the ways in which they are simultaneously revealed by and embedded in the stories we tell about them – doesn’t elevate his material above weepy-weepy Oscar-bait, way the fuck above it, into a kind of fascinatingly downbeat ouroboros that can’t stop swallowing its own tail, not until someone finally asks it why it keeps doing that, because that shit looks painful.

I can never truly love a movie that doesn’t have a single flamethrower in it, or a dinosaur that’s also a loose-cannon cop who plays by his own rules, but Trier’s sincere belief that the art of being a person is as legitimate and necessary a part of the whole human experience as the physical and spiritual ones is fascinating. Watching this movie is like meeting someone who truly believes that God is real (he isn’t) and also knows he is capable of proving that God is real (which he can’t, because God isn’t real).

I haven’t exactly been converted to the Church of Rad Feelings after watching Sentimental Value, but maybe I won’t roll my eyes and make jerk-off gestures anymore when I see super emotional posters and trailers during awards season. For a movie that doesn’t feature a single dinosaur cop melting people with a flamethrower, that’s not bad.

Holy Shit! Priscilla is Fucking Good!

I am a vile and reprehensible monster. An emotional derelict by all meaningful metrics – heinous beyond compare, irredeemable in both the eyes of God and man. I get excited when a bobsled team crashes. My jaw makes an annoying clicking sound when I eat. I once called a dog an asshole, and I don’t think it was even doing anything wrong. There’s a lot not to like, is what I’m getting at.

So it reflects more on my lack of reading comprehension than anything else that I initially didn’t like Sophia Coppola’s Priscilla. What an odd premise for a romance! He was a weirdo. She was a child. That’s gross. Try again, Sophia.

But, no – I traced the call, and the dumb was coming from inside my own brain. It wasn’t that Sophia Coppola had been seduced by her own vision, or was oblivious to the asymmetric power dynamics between Priscilla and that grody weirdo. Grotesquely asymmetric power dynamics is the entire point of the movie! The creamy visuals are just there to make their relationship creepier. This is the scariest horror movie of the year. Ari Aster must be fuming.

Elvis doesn’t woo Priscilla, or romance her, or even seduce her. He overwhelms her. It’s amazingly skeevy. Check out the way in which he’s constantly lit (or, oftentimes, deliberately underlit) throughout the movie, and how he dominates the frame whenever he’s on-screen. That type of blocking is what you’d expect to see in a Friday the 13th movie, if Jason could sing, and had delicious hips. It’s masterful, creepy filmmaking!

I owe Cailee Spaeny an apology, too. I initially thought her slightly stilted, charmed-but-sheepish approach to the material was a sign that she, as an actor, was unsure of her performance. But no! It’s because the character is unsure of the situation. Priscilla doesn’t know what the fuck is going on, because she’s being groomed! Spaeny’s performance isn’t shit – it’s a great portrayal of someone who doesn’t realize she is being overwhelmed rather than loved. She’s too young to know any better! A weirdo is taking advantage of her! I needed a fucking shower after watching this movie!

The End

I am dumb, and bad at everything. I thought Deliverance was a comedy. My imaginary friends won’t talk to me. I cry at the end of Jaws because I want the shark to win. I once filled out one of those “Which Power Ranger Are You” quizzes and it told me I was Hitler. I’m convinced I can successfully eat soup with a fork if I just try harder.

This movie is a masterclass in how easy it is to mistake a quickened pulse for the virgin beats of love when you’re too young to realize that a quickened pulse can also mean you’re in danger. The opening shots of Priscilla dolling herself up are eventually re-contextualized to show how she’s been brainwashed by a pervy weirdo. That’s tremendous filmmaking, because it’s fucking gross!

I’m actually surprised this film wasn’t more of a banger, critically. Are people as dumb as me and didn’t get what Coppola was going for, or are there actual criticisms as to how the movie presents gross relationships? I don’t know, and googling the answer would require time better spent washing my eyes out with soap so I’ll never have to see Elvis’s vile leer again.

More good movies, please!

The Murders in Alien: Romulus Were Hard to Make Out and It Made Me Mad Because I Was Afraid I Would Think One of the Characters Was Dead But Then They’d Show Up Again Later in the Movie and I’d Be Confused if It Was a New Character or Something and Then Be Like, No, Wait, That’s That Same Character From Before, and in My Confusion I’d Miss a Plot Point and Then Not Understand What Was Going on Anymore

Being good at multiple things is a waste of time. No one cares if you can kill a man just by blowing kisses at him, but you can also jump over a lot of boxes. It just doesn’t matter.

So, now: you’re making a movie. You’ve never been this wet before. People are calling you Ham Pants. Everything is perfect. You pomaded your hair straight back this morning. You used the nice pomade.

You think about the movie you’re going to make.

I am going to put the many scenes of excellent killings into my movie, you think to yourself. Your brain smells of hot cabbage. You are impossibly moist. The pomade holds.

But wait, your brain, which is magnificent, continues, what if the scenes of murder, which I am responsible for and love like a stern yet spankable father, are hard to see – I mean literally, physically hard to discern on even a basic geometric level.

You chat with the boys about this. You have to. Only the boys will get it.

”Don’t be stupid,” Blaine says. He is the smartest of the boys. “No one would be weird enough to have a scene wherein someone is melting in acid and then just forget that that character is melting in acid and instead have them die of something else even though they are clearly melting in acid. Acid is the thing that is currently killing them. Nothing else would make sense for the murder.”

Blaine gets it, man. Blaine fucking gets it.

The End

Darkness surrounds me. Everything smells like burning. Sometimes I wake up and I can’t remember if I know how to read or not. I don’t mean that I forgot how to read, I mean I have to read something to remind myself that I can still read, because I can’t remember if I can read or not. When people talk to me I hear only a monstrous chitter. I can’t believe I need to sign up for Apple TV just to watch Formula One. I want to watch cars driving really fast. I don’t want anything else.

I will pay someone hundreds of dollars to spit on me. Make me beg you to stop spitting on me, and then spit on me more. Tell me to close my eyes and after I’ve closed my eyes tell me to say that it’s not spit, it’s rain, and I like the rain, thank you for the rain. If I cry and say I don’t want to play anymore, hit me. Make me legally change my name to Fart Salad. Tell me the wetter stuff is the better stuff. Bathe me in your awful water.

Predator: Badlands

Predator: Badlands

I love Worf. I wish Worf was my dad. He actually might be. The single greatest thing about Worf is that he’s basically Larry David.

In watching any Worf-centric movie I can be confident my time won’t be wasted on generically quippy dialogue (he’s too dumb for that), a meaningful character arc (too proud for that) or basic likability (too Larry David for that). I will simply be watching a deeply violent and profoundly stupid man refuse to learn any lesson more complex than “I must violence harder.” I am not being ironic when I say I love this – there is a time for character growth, and Space Murder Man: The Space Murder Movie is not it.

The plot of Predator: Badlands is the same plot as Hot Rod, which is amazing. Our hero, Dek, wants to complete a task for his tribe specifically so he can return home and murder his father for doubting his ability to complete said task. No one, not even his father, finds this strange. Along the way he meets Thia, a busted robot, whose burgeoning humanity he refuses to acknowledge because she is basically a talking hammer to him. If Dek ran for President, I would vote for him.

This movie is a remake of My Fair Lady starring Jeffrey Dahmer. Thia does not convince Dek that he must let go of his anger towards his father, nor does Dek arrive at this conclusion on his own. No, he is going to murder the fuck out of his father. That cake has already been baked. The only character growth for Dek is the realization that he shouldn’t crave murder to win the approval of his tribe – he should crave murder to win the approval of Dek. “Murder people, but for the right reasons,” is basically the Old Testament condensed into a single sentence. This movie is better than the Bible.

The emotional turning point of this movie occurs when Dek spits on a child. I applauded when this happened. I may have cried. I definitely saw God. Anything can be impactful in the world of storytelling if it is richly-realized enough, even being a psychopath. I have no idea why other movies struggle with this. Don’t force your protagonist into the mold of the story; bend the story around the nature of your hero.

The End

I want to get matching tattoos with this movie. I want to file a joint tax return with this movie. I want to play squash with this movie and have a blast even though neither one of us is entirely sure what the rules are. I want to spend an afternoon trying on clothes with this movie at the mall but not actually buy anything.

Seriously, franchise filmmaking isn’t that hard. It’s entirely possible to craft a big honkin’ film that checks all the blockbuster boxes but at the same time also feels like a movie. Dek doesn’t have quippy one-liners! The fate of the universe doesn’t hang in the balance! It’s just a movie. A delicious, lovingly-crafted movie.

 

Part I, Chapter I

“God made the integers; all else is the work of man.”

Leopold Kronecker

 

“Listen, Wilbur. I know there’s no such a person as Dracula. You know there’s no such a person as Dracula.”

“But does Dracula know it?”

Abbot and Costello Meet Frankenstein

 

I

Approaching the necessary conditions. Light overruns the trusses and the tempered glass until you can’t even see the skies beyond, can only sense their many roads, their many offers of ascension. This cockpit’s always been a womb, but it’s a matrix now, too, and somewhere in those numbers is the light by which you can finally read the Zone. All of its secrets laid bare, all of its rules now obvious – the antechamber of an infinite space is easier to find than you’d think…

If it’s possible to be drunk on chance, Penrose is very close to pissing himself. He doesn’t even understand how any of this works, yet here he is, curled up in the co-pilot’s seat, washed in a strange light, stifling giggles, trying to pretend he’s still asleep – like a kid pranking his parents. It’s really weird. Someone should probably be flying the plane.

Eyes closed, hands balled into adorable fists, Penrose says something to his parents. They’ve been dead for years.

“I’m tired!”

Waits for a response. Doesn’t get one.

“OK, f-fine!”

Lifts himself into a sitting position, squints into the light. Starts to look like himself again. Tired.

”Almost had it.”

Even the rough braze of his voice is back.

Scooting over to the big boy seat, he takes the wheel. Feels like he’s play-acting. He actually is a pilot – and a pretty fucking good one! – but the whole point of this exercise is to not take the wheel. You can’t catch the necessary currents in too literal a state, or with too conscious a hand.

But he can tell when a moment’s passed. He’s pretty good at that, too.

Another sigh. Not feeling sorry for himself. Just tired.

Time to head back. Better take the provincial channels. Any more people start to get suspicious of these little unauthorized excursions and it’ll be Wham! Shab-a-doo! Blam-o! H-H-Hey! and then back to oil changes for you, Penrose!

And that’s never going to happen. From beyond the sky to not even allowed in it? Hmm, yeah, no.

Career suicide, If the boys downstairs ever found out about this. To say nothing of what the boys upstairs would do…

“Corrugated metal skin! Too much drag! I hate innovation! I hate everything! Fuck this hemisphere! They can launch me from a fucking catapult next time!”

Moosewell Morris was not enjoying himself. Manicatex, who was enjoying himself, pretended to take notes.

Naboria daca. I will tell the boys in R&D to begin designing a low-altitude parachute. Warn the agents in Saint Lucia that they should expect to see a large, yelling man flying through the sky. Don’t want them getting their hopes up that the Rapture has commenced, but as usual the white guy gets to go first…?”

“AAAAAGGGHHH!”

Moosewell now losing his footing in addition to his cool, eating shit all the way down the ladder, landing in a heap at the base of the 2-AT he had just been complaining about. Manicatex, dropping the bit, hustles over.

“Are you OK, batata?

Hand offered, hand accepted. Large man upright again.

“Fine, absolutely fine. Fat broke my fall. Sorry, Manny. Didn’t mean to make a scene.”

Manicatex shrugged.

“The more unhinged you become, the more reasonable I seem by comparison. It’s our schtick.”

“Heh.”

Moosewell dusted himself off, looked back up at the 2-AT.

“I hate that fucking thing.”

“I don’t think it much cares for us, either.”

They started walking back towards the dugout. A young Lucayan was running towards the 2-AT to finish its repairs. Moosewell acknowledged him as he passed, then turned to Manicatex.

“Was going to try out ‘manicato.’ Would that have worked?”

“He would have understood your intention, at least.”

“Ah, nuts… lost my nerve…”

“Knowing what you don’t know is more than most people are capable of. Half the reason I like you.”

“What’s the other half?”

“You fall off of more things than any human I’ve ever met. It’s fascinating.”

They left the airfield and walked to the adjacent administrative center that also doubled as a kind of modernist take on a yucayeque that also tripled as a trading post for all the fine people on the island who weren’t dumb enough to seek employment in this God-forsaken mail-carrying business that also quadrupled as the essential kind of seedy hub you need if you’re going to soak up all the spiciest gossip and keep abreast of the most sordid schemes. Moosewell couldn’t help but kind of like it. Manicatex tolerated it.

If you focused your vision just right, you could excise from your sight all the shit that was weird and wrong and off – a central plaza full of mechanics and carburetors and grease guns, bohios held up by steel tube trusses instead of wood, shouts in one language stopping suddenly as the speaker simply runs out of words in their native tongue and is forced to jump to another, less befitting language in order to cover the gap…

… but, of course, there was still that hideous fucking eyesore of an administrative building, dominating the scene not just because of its size but its complete incongruity with everything else in sight. It was fucking concrete, man. It had fluorescent lights. What a joke.

(The smells were good, at least, and the earnestness with which villagers and workers shouted back and forth had a sort of timeless quality to it, even if the details were weird. Moosewell and Manny tried to focus on small stuff like that. Always try to focus on small stuff like that.)

“Wouldn’t mind a bit of a detour, ‘fore I go and get all mad.” Moosewell actually looking down at his stomach, as if communicating with it via channels not available to lesser minds. “At least with some corn and beans in me I’ll be able to return fire…?”

“Our landlords are best dealt with on an empty stomach, batata.”

“Bleh.”

“I’ll meet you after.”

They separated.

Penrose watched the young Lucayan from the shade of a palapa. Kid was going to town on that 2-AT. Good for him. They learned so fucking fast. Probably helps to not have much of a choice. He couldn’t relate, at least not that much. He had choices. Just made bad, deeply stupid ones.

These kids, though…

He found himself leaning a little too much towards this scene of ex-empire, then caught himself. Any more and he’d be out in the sun, which wasn’t an option yet. Irrevocable day, poised with heat and accident. No, sir, not yet. Not until the good stuff hits.

Amphetamines. Stern, wonderful stimulants.

My real co-pilots, Penrose thought.

You’d think it would be hallucinogens that would get you to the good place, but you’d be wrong. Just another way intuition tends to fail out here…

Events arrange, then descend; guilty of relativity, maybe, but not meaning. Good time to either evangelize your mechanics or forget them altogether. 

Penrose thought that. At least, he thought he thought that. He wasn’t sure. Felt like he was reading it off of a billboard someone else had rented space on in his brain.

He looked up at the low, thatched roof he was standing under. He was pretty sure this was a palapa. 

“H-Hey, Penrose!”

Ugh. People. Penrose turned around. It was that mailroom kid. Well, technically they were all mailroom kids, but you know what I mean.

“M-Management wants to see you!”

“Tell them I just got back.”

“They told me to tell you, ‘After he says “Tell them I just got back,” tell him that he’s lying, we know that he’s lying, we’ll always know when he’s lying, and that he needs to get here right away.’ They also said to cool it with the uppers, but I don’t think it’s really their place to lay judgement on our chemical preferences, you know?”

Penrose looked at the kid for a minute, maybe even longer, time being rather suggestible out here, then started walking back to the administrative center.

My father sold cheese. Dumb. Fuck. Ass. I will sell something better than cheese. Like spice. Spice is better than cheese. I am a hero. I think better than my dad because I know that spice is better than cheese. It sells for more money.

My mother says there are ghosts in this house. She says they are Ancestors and Ancestors invoke us through our names. That is stupid. I don’t have to be invoked. I am right here.

Ghosts aren’t real. If they were real I would have seen one by now.

I have never seen a ghost before.

“Maybe placing you on the opposite end of the terminal will work out better for your partner this time.”

What the fuck? Who says that? These fucking guys, man.

They were talking about Maxwell Malrog, a veteran pilot specializing in the Lesser Antilles routes who just up and went poof oopsie-gone one day, a disappearing act which confused and annoyed anyone in any position to care, not least of which because he took an Antonov An-2 – the Grim Honker – with him.

Penrose, having the unfortunate distinction of being The Last One To See Him Alive, was called into the main office, whereupon he tried his best to recall – as blandly as possible, excising from the story as many details as he felt might be suspicious or incriminating – the final conversation the two had had, on an overnight to Martinique, when Penrose asked the ol’ graybeard why he was staring so… disdainfully at a map spread out across the middle console.

“I can move it you want.”

“That’s not the problem. It’s not in the way.”

“OK, so, uh… why the mean stare?”

“I have a problem with something on the map.”

“What?”

“That, right there.”

Malrog’s finger, quivering with the turbulence they had just hit – if not a certain accusatorial certainty – was pointing towards a corner on the map. Penrose looked there.

“That’s a compass rose, Max.”

“Yes. Exactly.”

Eyeballing the symbol like he expected it to do something.

“A compass rose is a picture of a compass.”

“I know what a compass rose is.”

A moment, not a particularly comfortable one, in which Malrog looked at the compass rose, and Penrose looked at Malrog.

“It’s… a picture, Max. They just put it there. They don’t even need to anymore. Anyone knows anything knows what the cardinal directions are, what the principal winds are. It’s symbolic.”

“Symbolic.”

“Yeah.”

“A symbol of something.”

“That’s usually what symbolic means…?”

“A symbol of order in our depiction of available space.”

“… yes?”

“Sort of like stamping humanity’s seal of approval on nature.”

“I… guess? Never thought of it that way.”

“Maybe you should.”

Penrose, starting to suspect this dude might be fucking nuts, tried to lighten things up:

“Maybe we should go back to sea monsters, no?” Raising his eyebrows like Groucho Marx, ashing an invisible cigar. “See a monster in the margins, know it’s not so safe to go there? Eh, eh?”

“Oh, what I wouldn’t give for the humility of a leviathan.”

Penrose lowered the pretend cigar, placed it in a pretend ashtray.

“… eh?”

A heaviness on Malrog’s brow. Not of anger, but sadness. Penrose wasn’t the only one convinced he was talking to an idiot.

“Claiming that you’ve solved space because you divided it into grids is like claiming you’ve solved language because you realized certain words rhyme.”

“I… what?”

The Grim Honker had left the turbulence behind and was now pushing on silently through the clouds, noiseless gray space giving way to noiseless gray space. A dark withholding. The sky had something to say, but so far was content to let Malrog say it.

“We laid a coördinate plane upon the surface of the world,” he continued, “and declared it tamed. That was arrogance. But it was understandable.

“It must have been exciting, feeling like we had mounted something so wild, ridden a monster into strict compliance with our… rules. But, for Heaven’s sake, to forget so easily. To calm ourselves with a mathematical lullaby until we forget its origins and believe it to be a” – nearly choking on this one – “law! Where are we supposed to go from there? How do you build humility off of a foundation of fear? What are you supposed to do with a system that attempts to divide by zero at two separate locations?! We still argue over the true longitudinal locus! I’ll go to hell before I set my watch to the French meridian!”

The conversation had taken a turn. Also, was it getting darker in here? And w-why was the only remaining visible light falling in a horizontal band directly across Malrog’s face, making him look like a young Lugosi?

“B-But, what about n-vector representation?!?” Penrose shot back. “No singularities, everything is one-to-one… it’s mathematically well-behaved! A function you can take home to mom! A keeper! A real knockout!”

You still need to choose a frame of reference!”

It was around this time Penrose realized he had never appreciated how interesting his knees were, and decided to see how long he could stare at them. Silence ensued. Some time later, as he was nodding off, he heard this:

“It isn’t absurd to want to head north and continue heading north, no matter how far North you’ve already gone. Direction being told to bend around and come back simply because it’s about to go farther than we’re comfortable with… why should space owe us anything? It was here before we were…

“What if I repudiate these geodesics? Would that be enough?”

Penrose lifted his head, expecting to see Malrog turned towards him with that maniacal gaze again. But the goofy old bird still had his eyes forward, was looking straight out the window. He wasn’t talking to Penrose at all.

Was he… talking to the sky?

Was he negotiating with It…?

What were the terms…?

They landed outside Le Lamentin without incident. They were light multiple sacks of letters, but for some reason that never qualified as an incident. In fact, it was one of the few things Malrog didn’t seem keen to discuss.

“We’ve completed this leg of the delivery exactly as was intended.”

“But could’ve sworn we took off with more cargo than we landed with…? And those couple times you left the wheel to me, and came back later in a bit of a lather?”

“Don’t think so much, Penrose, you’re upsetting me. Drinks?”

“Well, sure, if you’re feeling a little better, I s’ppose we could -”

“I was talking to myself. See you at twenty-three hundred, Penrose. Keep your nose clean. Don’t ever ask about the cargo.”

What an odd thing to say. Hey, maybe Penrose could ply this prick with some talky-sauce, and find out – h-hey, where did he go?

Now here’s that freaky old loon not just disappearing but somehow escaping responsibility for his own requisite space – yes, actually sidestepping the grosser parts of the probability distribution, hiding amongst its least likely outcomes like a man among the trees, presenting so little identifying information that Nature itself isn’t sure how to portray him, so doesn’t.

How’s that for a neat trick? Also, did the wind just turn cold?

Penrose headed into town.

Neat and messy winds starting to blow in Martinique. Penrose could dig it. He couldn’t understand it, necessarily, because trying to explain Négritude to a dude this white would be like trying to give a dog ennui. But he respected the vibe, figured he could show support for the Cause by not fucking it up.

He ducked into his favorite haunt, The Suspicious Smell, to get a little happy, and maybe do a little snooping re: The Malrog Situation.

It was the usual crowd. Everybody so familiar with everybody else that you could probably balance the whole shindig on a pole and it wouldn’t even wobble. How’s that for a zeitgeist?

He worked his way towards the end of the bar, nodding along the way at the people he knew. The bèlè was already in full pomp, physical soundtrack to events Penrose knew weren’t for him, and even if they were wouldn’t want anything to do with, anyway. It was all that percussion, man. Made him fidgety. He had no idea how these people could dance so gracefully to it.

“Ah, finally, my lover arrives.”

“Gaaaah!”

Now here’s Delphine, this deliciously self-possessed local gal eternally and – if we’re being honest with ourselves, here – rather salaciously toeing the line between the espiègle and fatale varieties of femme. She slid onto a stool next to Penrose.

”Did I scare you?”

Mais non! I always scream and wet myself when I’m not surprised!”

“Your silver tongue has always been your most attractive trait, my dear. ”

There was a time when Penrose craved naughty banter like a man straight from solitary, but he was feeling oddly self-possessed himself, tonight, and was going to have to raise an eyebrow rather than a glass to opportunities for both the hanky and, God save him, the panky.

”Am I being roped into something, here, Delly? Would normally be all for it, but trying to be on my best behavior, re: fornicating? Stranger in a strange land, and all that.”

“And a stranger there you shall remain, mon chéri. I just wanted to know if you were interested in seeing something – I think the word you sometimes use is ‘rad’? – before you fly back home tonight.”

“Was actually keen to do some reconnaissance on that Malrog character? Thought I’d ask about him to some of the gents in here, collect eyewitness accounts just like that Philip Marlowe would do?”

”This concerns him, actually.”

“Marlowe?!”

Malrog. At least, it likely concerns him. Even if it doesn’t, it might present you with some… contextualizing information.”

Penrose, suddenly aware that there were more eyes trained in this conversation’s general direction than could reasonably be explained by honest curiosity or random variation, nodded. 

“OK, Delly, I’ll bite. Where’re we going?”

“When the moon hits your eye,

Like a big pizza pie,

That’s amore!

When the world seems to shine,

Like you’ve had too much wine,

That’s amore!”

Delphine was really letting Penrose have it, lyrically. It was actually kind of impressive she could belt so cleanly while also piloting their canoe. And in such inky darkness, too! What a woman.

It was just, Dean Martin didn’t seem terribly relevant to the topic at hand. Also, what the fuck was the topic at hand?

”There’s an island I want you to see, Penrose.”

”OK. And, uh… may I ask about the musical accompaniment?”

“Dean Martin songs are like if someone wanted to write a tragedy but didn’t want to have to feel sad first. Imagine feeling like the next market you should move into is the sadness market. Imagine thinking sadness is a market.”

“… where are we going, Delphine?”

“The island does not have a name, nor a set location.”

“Oh, I can dig on that. Like an artificial island.”

“No. Rocks, forest, the whole shebang.”

“… but it moves.”

“Mm-hmm.”

“That’s not how islands work, Delly.”

Delphine paddling now in a state of sudden passion, one might even say agitation, all while throwing looks back over her shoulder at rock-brained ol’ Penrose.

”Ahh, so mon chéri is an expert on islands now, eh? Hehehe… oh, my plucky boy, my caddish lad… did you learn behavior re: islands from a map, perhaps? And who made that map, I wonder? Our old friend Waldseemüller?”

Penrose, feeling less like a gumshoe and more like a doofus with each passing moment, grimaced an apology back at her.

“Sheesh, Delly, was just making conversation, is all. It’s your canoe. You call the shots. I’m just a passenger. Couldn’t go back if I wanted to.”

Delphine returning her attention to the dark water before them.

“You people can always go back. That’s your privilege.”

Well I’ll be damned, there really was an island here. Sneaky little fucker seemed to surprise Delphine, too, with her asking Penrose if he wanted hear anything from the Sammy Davis Jr. catalogue when:

“Ahh, fuckfuckfuckfuckfuck! Fucking rocks! I swear, this damn island hides in the fucking shadows!”

And then, after getting them ashore:

“I’m not in the mood to sing ‘Mr. Bojangles’ anymore.”

“It’s OK. No longer seems like we’re in the proper context for it, anyway?”

You got that right.

It was an island, kind of. More like a soundstage on which the set for EXT. ISLAND – NIGHT had been built. Context for a movie interrupted right before they could roll camera. Everything was poised and primed to explode into action, into subjective life. Just missing the fuse.

“I don’t think I was so wrong, Delly, about this being an artificial island…?”

She led him deeper into the jungle. They passed through clearings in moonlight, settlements of such robust orientation and preserve that they didn’t seem cleaved from any one particular culture so much as ready to adopt as their new purpose whatever new body was violent enough, fresh, dumb and indifferent enough, to believe itself Next…

(W-Wait, was that moonlight? It was so perpendicular, so flawlessly lustrous, flawlessly white… were there… spotlights up there?)

“The distinction between real and artificial becomes harder out here, Penrose. Intention, familiarity, seniority, dominance, submissiveness, proper and improper power, proper and improper channels, capacity for cruelty… these things all become far more important than the material something is made from. ‘Natural’ and ‘normal’ and ‘true’ are all about who’s willing to act like they’ve been here longer…

“… like here, for instance. This place right here.”

Here did not seem particularly distinct from any of the there they had passed along the way. Identical space, identical sand, identical lighting, identical air, identical quiet.

“It’s important to make things look both impressionable enough to be, well, impressed upon, and also as similar enough to expectation that no one will ask too many questions. Getting something right is significantly less important than getting it correctly wrong. It’s basic sales, Penrose. People love to feel like they’re getting a deal.

“I don’t know if your friend Malrog just crashed here, or read about it, or if it came to him in a fucking dream, but now I’ve got seeds perilously close to sprouting that were never even supposed to be planted in the first place.

“But the details of this latest erasure are somebody else’s problem. Mine is rectification and return – ironic for a lot of reasons.”

“Delphine, girl, I have no idea what you’re talking about – ”

“We’re almost there, Penrose.”

A sudden… not movement, per se, but acceptance – of intent, of meaning, of a weird new kind of sound, echoing in sick and lonely waves, like faded breathing. The ground now a stage, the stage now a Floor, that Floor, like any other space, capable of becoming a roof or another membrane, depending on where you wanted to go, and if you had any intention of ever going Back…

(W-Where are we?)

Penrose?

(Are we… below stage?)

Penrose?

(Sure are.)

(Bcareful! This isn’t just a stage!)

(W-What am I going to do…?)

(You’re doing fine, Penrose. Hang in there.)

(Bcareful! This isn’t just a stage!)

(Delphine?)

(Yo.)

(Where are we?)

(You said it. Trap room. Green room. Room room. Room room. Room room.)

Penrose?

(Room room Room room Room room Room room…)

(I said that out loud…?)

Penrose?

(Not much of a difference, here. Heh.)

[PENROSE sees THE UNTIMED DARKNESS.]

(What the fuck…!?)

THE UNTIMED DARKNESS: Imagine being defined entirely in your enemy’s tongue.

PENROSE: Huh?

(Focus, Penrose. Focus.)

THE UNTIMED DARKNESS: Heh, heh… allow your enemy nothing but the wrong words and your enemy will castrate themselves simply by existing. A savant’s knowledge of the many types of Death… what the fuck? What an awful thing to be good at. Learn an instrument, or something, you fucking weirdos.

(Delphine, who is…?)

(Just listen, Penrose. Please.)

[PENROSE starts to make out THE TIMED DARKNESS, who is standing “close” to THE UNTIMED DARKNESS. The metric by which this distance is measured is unclear.]

[THE UNTIMED DARKNESS continues.]

THE UNTIMED DARKNESS (CON’T): You can’t even allow Nothing to remain uncapitalized upon, because Nothing belongs to you, too, doesn’t it? You don’t even feel hate… at least do us the dignity of hating us. Don’t just chase us into darkness under the auspices of a mindless inexhaustion, like a ball rolling down a hill…

(Delphine, what do I…?)

[THE UNTIMED DARKNESS shifts its massive flesh. It is not done.]

THE UNTIMED DARKNESS: You haven’t even lost anything, but you still want the ways to bring lost things back. Because if someone else can do it, your lusts are threatened – your lusts for inevitability, for inertia, for anything that might belong to someone else, for lust itself…

(Bcareful! This isn’t just a stage!)

THE UNTIMED DARKNESS: I won’t ask you to right this wrong, Penrose, because you are an idiot. I will only ask that you take these undiscovered avenues to different places. Leave us this one, because this place is the Republic of what, and where, and when we used to be. It means nothing to you, but it is all we have left.

Headlines VI

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Headlines V

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