Posts Tagged ‘Charles Schulz’
Infinite Sunday Infinite Reading
* From last week, a rare “actual content” post: White Male Critic Asks Why If Wonder Woman Is Really So Great Why Didn’t She Prevent the Holocaust.
* Princess Buttercup Became the Warrior General Who Trained Wonder Woman, All Dreams Are Now Viable. The Strange, Complicated, Feminist History of Wonder Woman’s Origin Story. Who mourns for the space kangaroos? I’m Pretty Sure Steve Trevor Lied About His Dick Size in Wonder Woman. Classic DC.
* Black Panther next! Everything We Learned From the Black Panther Teaser Trailer.
* Why you should go to the Octavia Butler sci-fi conference at the Huntington. I’ll be there!
* Bob Dylan Delivers His Nobel Prize Lecture, Just in Time.
* Scenes from the class struggle at Evergreen.
* Evergreen headlines: Humanities Majors Drop.
* Eight reasons why universities can’t be the primary site of left organizing.
* UWSP student asks court to force poetry professor to give her an A.
* The Poverty of Entrepreneurship: The Silicon Valley Theory of History.
* Fifty years of One Hundred Years of Solitude. No Magic, No Metaphor.
* Corbynmania! How Labour Did It. Why Corbyn Won. Theresa May’s desperation could undo peace in Northern Ireland.
* Excerpts from James Comey’s Opening Statement to the Senate Intelligence Committee or from Kazuo Ishiguro’s The Remains of the Day? The Comey testimony was riveting reality TV. I asked 6 legal experts if Trump obstructed justice. Here’s what they told me. Trump Can Commit All the High Crimes He Wants. Republicans Aren’t Going to Impeach Him. How Donald Trump Shifted Kids-Cancer Charity Money into His Business. Trump’s DOJ says Trump can still get paid. Our A.I. President. A Noun, a Verb, and Vladimir Putin. All this and Trumpcare isn’t even dead. What Will Happen to Us? Four Cartoonists on A Life Without the Affordable Care Act.
* Reporter Covering Inauguration Protests Now Faces 75 Years in Prison.
* I think we may have had the Russians all wrong.
* Noam Chomsky explains the twentieth century.
* What if Your Cellphone Data Can Reveal Whether You Have Alzheimer’s?
* What’s really warming the world?
* Twilight of the comics direct market.
* Before I go: A mother’s hopeful words about life in its waning moments.
* The toddler survived with some scar tissue—but not everyone who gets Powassan, POW for short, is so lucky. With no treatment available, half of all people who contract the virus suffer permanent brain damage; 10 percent die. And while POW is nowhere near as prevalent as that other tick-borne summer scourge—Lyme—it is starting to show up more often.
* People tend to avoid sick people, even if they don’t consciously now that they are sick, according to a new study published in PNAS.
* The addicts next door. Drug Deaths in America Are Rising Faster Than Ever. In one year, drug overdoses killed more Americans than the entire Vietnam War did. The last words of a ‘heroin junkie’: There seems to be no escape.
* Not only will this happen in your lifetime — this tweet has accelerated the process.
* Shock finding: Tax evasion is shockingly prevalent among the very rich.
* On Aug. 15, 1977 at 10:16 p.m. ET Ohio State University’s Big Ear radio telescope detected a curious signal from deep space. Nearly 40 years later, we finally know what caused it and, sadly, it’s not aliens.
* Donald/Donald. Don’t stop till you find the panda. How to succeed. Now my story can be told. Should we be concerned about that? What’s the problem with Florida? Can I interest you in a war on non-transport accidents? If you want a vision of the future. The state is that human community that (successfully) claims the monopoly of the legitimate use of physical force within a given territory. Zoos.
* In tiny Townville, S.C., first-graders are haunted by what they survived — and lost — on a school playground. Gut-wrenching.
* How Bostonians Defeated the Olympics.
* White supremacists love Vikings. But they’ve got history all wrong.
* Peanuts and the Civil Rights Movement.
* ‘Life or death for black travelers’: How fear led to ‘The Negro Motorist Green-Book.’
* For the first time ever, a video game has qualified for an Academy Award.
* When David Fincher nearly directed a Star Wars sequel trilogy.
I always thought of Star Wars as the story of two slaves [C-3PO and R2-D2] who go from owner to owner, witnessing their masters’ folly, the ultimate folly of man…
* How Wookieepedia Tackles the Insanely Difficult Task of Chronicling the Entire Star Wars Universe.
* This week in the richest society in human history.
* At $75,560, housing a prisoner in California now costs more than a year at Harvard.
* I’ve always known this is how it will end for me.
* Everett Hamner will be recapping Orphan Black season five for LARB.
* Some economies just can’t be disrupted. Grilled cheese for instance.
* So is — Mary Poppins? Fine, I guess.
* C. L. R. James in the Age of Climate Change.
* The Unexpected Afterlife of American Communism.
* Al Franken was a great guest on Marc Maron, if you missed it. Crazy to say it, I think he might actually run for president. Then again, why not him?
West’s Batman/Bruce Wayne is, and will always remain, the single most important screen incarnation of the character, for better or worse: For better because it was the most surprising, at times confounding, interpretation of the Caped Crusader, feather-light and hilarious precisely because of the character’s seeming lack of self-awareness; for worse, in the eyes of some fans, because it encouraged millions of people who had never picked up a Batman comic, or any comic, to be amused by the sight of adults dressing up in wild outfits and pretending to punch each other in the face. Every subsequent, high-profile reinvention of Batman, whether in Frank Miller’s The Dark Knight Returns, Alan Moore and Brian Bolland’s The Killing Joke, Tim Burton’s alternately perverse and sincere Batman and Batman Returns, Christopher Nolan’s operatic trilogy, and Zack Snyder’s funereal Batman vs. Superman, is, first and foremost, a reaction against the Adam West–driven Batman series.
* And the bad news never stops: Sleeping In Is Deadly, Popular People Live Longer, Adolescence Lasts Forever, and So Does High School.
Wes!
The House Next Door and Moving Image are running a five-part series on Wes Anderson, “the most influential American filmmaker of the post-Baby Boom generation.” (Tarantino who?) Here’s Part 1.
When I interviewed Anderson for a 1998 Star-Ledger article about A Charlie Brown Christmas, directed by the late animator Bill Melendez, Anderson cited Melendez as one of three major influences on his work, so we’ll start there. Anderson told me that he and his screenwriting collaborator, Owen Wilson, conceived Rushmore hero Max Fischer as Charlie Brown plus Snoopy. He said that Miss Cross, the teacher Max adores and will draw into a weirdly Freudian love triangle with the industrialist Mr. Blume, is a combination of Charlie Brown’s teacher and his unattainable love object, the little red-haired girl. Anderson and Wilson even made Max a working-class barber’s son, just like Peanuts creator Charles Schulz, and gave Seymour Cassel, the actor playing Bert Fischer, glasses similar to Schulz’s.
But Schulz’s impact manifests itself in deeper, more persistent ways—particularly in Anderson’s characters who, regardless of age, seem, like Schulz’s preternaturally eloquent kids, to be frozen in a dream space between childhood and maturity. Think of how Rushmore’s Blume pauses during a phone conversation to run across a basketball court and slap down a student’s would-be layup; the now-adult children in The Royal Tenenbaums navigating adult emotional minefields within the confines of a childhood home crammed with toys, grade-school art, and nostalgic knickknacks; Steve Zissou in The Life Aquatic transforming a submarine into a gigantic clubhouse and rec center; and the brothers of The Darjeeling Limited turning a supposed spiritual voyage through India into a more affluent, adult cousin of a summer camp stint.
The arrested adolescence thing is right on the money—we’ve talked about this before—but the Peanuts thing is strange. What a weirdly intriguing misreading of one’s own film…
How It Turned Out
A late convert to the greatness of the early Charles Schulz, I must admit to being oddly moved by this years-old requiem for Peanuts written on the occasion of Charles Schulz’s death. Via Progressive Ruin, which had a nice future-of-Peanuts thing going earlier in the week.
Charles Schulz’s Watchpeanuts
Not since Watchmen Babies has there been a single-image parody of Watchmen as good as Watchpeanuts.
The Twelve Devices
Besides losing, the running (and falling) gag is a pure example of another element that has worked so well for Schulz: repetition…Nothing else in Peanuts is so mechanically repetitious as the football joke….One newspaper editor canceled Peanuts, complaining that the author did the same things over and over. He was forced to reinstate the comic strip, with an apology, when his readers set up a postal howl.
—Rheta Grimsley Johnson, author of Good Grief: The Story of Charles M. Schulz
In my youth I always agreed with the newspaper editor on this, which is why I think it’s so important to distinguish between the very good early Schulz and his long decline. Ironically I think it’s the introduction of some of the so-called “twelve essential devices” that marks the moment of disaster:
1. The kite-eating tree.
2. Schroeder’s music
3. Linus’s blanket
4. Lucy’s psychiatry booth
5. Snoopy’s doghouse
6. Snoopy himself
7. The Red Baron
8. Woodstock
9. The baseball games
10. The football episodes
11. The Great Pumpkin
12. The little red-haired girl
These became the crutches that destroyed the strip. Examples and more commentary at Austin Kleon.
Links for Too-Early Wednesday Morning
* Strange Maps, back from too long a break, knocks it out of the park with a bunch of entries, including this map of the Apocalypse.
* Drawn! has a music video for the best song on the latest They Might Be Giants album, “We’re the Mesopotamians.”
* Philadelphia Weekly interviews “The Magnificent Anderson” and his co-writers on The Darjeeling Limited (which I spoiler-reviewed if you missed it).
* And, in the New Yorker, John Updike reviews the Charles Schulz biography everyone else in America has already reviewed.
A depressive, self-deceiving character many found hard to love
More on Charles Schulz, “a depressive, self-deceiving character many found hard to love,” at Salon.
Watterson on Schultz
The world’s greatest living folk hero, Bill Watterson, reviews a book on the life of Charles Schulz.
Lucy, for all her domineering and insensitivity, is ultimately a tragic, vulnerable figure in her pursuit of Schroeder. Schroeder’s commitment to Beethoven makes her love irrelevant to his life. Schroeder is oblivious not only to her attentions but also to the fact that his musical genius is performed on a child’s toy (not unlike a serious artist drawing a comic strip). Schroeder’s fanaticism is ludicrous, and Lucy’s love is wasted. Schulz illustrates the conflict in his life, not in a self-justifying or vengeful manner but with a larger human understanding that implicates himself in the sad comedy. I think that’s a wonderfully sane way to process a hurtful world. Of course, his readers connected to precisely this emotional depth in the strip, without ever knowing the intimate sources of certain themes. Whatever his failings as a person, Schulz’s cartoons had real heart.
Watterson talks about Schulz about once a decade:
Indeed, everything about the strip is a reflection of its creator’s spirit. “Peanuts” is one of those magical strips that creates its own world. Its world is a distortion of our own, but we enter it on its terms and, in doing so, see our world more clearly. It may seem strange that there are no adults in the world of “Peanuts,” but in asking us to identify only with children, Schulz reminds us that our fears and insecurities are not much different when we grow up. We recognize ourselves in Schulz’s vividly tragic characters: Charlie Brown’s dogged determination in the face of constant defeat, Lucy’s self-righteous crabbiness, Linus’ need for a security blanket, Peppermint Patty’s plain looks and poor grades, Rerun’s baffled innocence, Spike’s pathetic alienation and loneliness. For a “kid strip” with “gentle humor,” it shows a pretty dark world, and I think this is what makes the strip so different from, and so much more significant than, other comics. Only with the inspired surrealism of Snoopy does the strip soar into silliness and fantasy. And even then, the Red Baron shoots the doghouse full of holes.
Via MeFi.