Posts Tagged ‘Dexter’
Every Last Weekend Link
* Food for Marquette English’s Hamilton event later this month: A Hamilton Skeptic on Why the Show Isn’t As Revolutionary As It Seems. And another: Hamilton, Inc.
Broadway can be a very poor investment, but when shows hit, they really hit. The most successful of them dwarf the revenues of even the biggest Hollywood blockbusters. “Hamilton” could easily run on Broadway for a decade or more. In September, the first road production will open in Chicago, and it will be a “sit down” show, meaning it is intended to stay there for a year or more. Ultimately, there may be as many as seven “Hamilton” companies, in addition to the one on Broadway, performing at the same time in multiple American and international cities. Ticket revenues, over time, could reach into the billions of dollars. If it hits sales of a mere $1 billion, which “Hamilton” could surpass in New York alone, the show will have generated roughly $300 million in profit on the $12.5 million put up by investors. (There are many eye-popping numbers to contemplate, but maybe the most striking one is this: The show is averaging more than $500,000 in profit every week.)
* Call for Papers: Faulkner and Hemingway conference at the Center for Faulkner Studies at Southeast Missouri State University. I was just down there to give a talk and had a fantastic time.
* New digital journal, thresholds, co-edited by Fran McDonald and Whitney Trettian. Here’s the CFP for the debut issue:
The debut issue of thresholds will focus on the theme of the extraneous. We seek manuscripts that deal with the extra, the foreign, or the strange from any angle. We welcome contributions that combine the creative and critical in their approach, and are eager to consider work that is experimental in both content and form. Final submissions will be comprised of a short piece (a maximum of 7000 words) accompanied by a series of fragments. Please submit 400-word abstracts and a brief bio to thresholdsjournal@gmail.com no later than May 15, 2016. Final essays will be due July 31, 2016.
* Elsewhere on the Duke alum beat: Huge congrats to Ainehi Edoro and Brittle Paper, which is now part of the Guardian!
* Protest and Power at Duke. Duke Students End Sit-In in President’s Office. A Lawsuit, Unmet Demands, and Coloring Books: Inside Duke’s Sit-In. A Guide to the Allen Building Takeover Collection, 1969-2002.
* The point is to implement an authority structure that can control public universities under permanent austerity and in the absence of a growing and rising middle-class. Culture wars are good for discrediting particular sources of sociocultural knowledge like ethnic studies, feminist studies, or Middle Eastern Studies. Budget cuts are good for taking the whole public university sector down a few notches. But to reengineer a static enterprise, after decades in which their boards failed to maintain the state revenues on which the system was built, public university governors need the audit and assessment practices that Europeans have long called New Public Management (NPM).
* In a case showing the reach of college sports corruption, a former head men’s basketball coach at the University of Southern Mississippi instructed his assistants to complete junior college coursework for recruits.
* Jacob Brogan reviews the first issue of Ta-Nehisi Coates’s Black Panther. And here’s not the only one!
* If you’re not, you should really be reading The Vision.
* Can you imagine, just for a moment, being a Chancellor of a university—a position with an enormous amount of responsibility to an incredibly wide range of stakeholders—and have someone interrupt you with a ‘No Whining!’ sound effect while you are trying to describe how many staff members you’ve had to lay off and what programs you’ll be cutting, with no end in sight? Would you have an existential moment of crisis where your inner voice conceded, “Oh my god, I’m an adult”? Well, I guess the ‘flexibility’ everyone wants for Chancellors doesn’t apply to their actually speaking without permission and an approved message.
* Questions for the #4c16 crowd.
* To begin answering these questions, we Googled our way to 8,000 screenplays and matched each character’s lines to an actor. From there, we compiled the number of lines for male and female characters across roughly 2,000 films, arguably the largest undertaking of script analysis, ever.
* Incredible narrative about a professor allowed to return to their job at UCLA after egregious sexual harassment. And it’s not even the most unbelievable story of an unrepentant predator allowed to walk free with no significant punishment I’ve read this week.
* Yes, apparently Zack Snyder has the same carte blanche to make Justice League, even after turning the first-ever movie starring three of the biggest, most popular superheroes in the world into a film that analysts believe won’t even make a billion dollars worldwide. Maybe that still sounds like a lot of money, but you know what actually made a billion bucks? Tim Burton’s needless 2010Alice in Wonderland film. If you put Batman and Superman and Wonder Woman together in a live-action movie for the first time ever, don’t you think that movie should probably outgross Iron Man 3?
* My sense is that militarized drones, those machines for remote seeing and killing known in military jargon as “Unmanned Aerial Vehicles,” should be understood to signify an end of empire in two senses. First, an end as in conclusion, or terminus. Hannah Arendt argued that proliferating death is not a sign of an emerging or persisting hegemony but its waning: “rule by sheer violence,” she notes, “comes into play where power is being lost.” This means that the assassinations proliferating in the name of the American phase of accumulation are the sign not of its strength but its incipient weakness; never mind autumn, we could say that drone war is a sign of the coming winter. Second, I mean an end in the Aristotelian sense of telos, or purpose. If we take seriously the fact that empire is best understood not as a culture or as a discourse but as the monopoly on putatively legitimate violence—the stretching of the state’s power over life and death past the boundaries of its “own” populace—then the power of sovereign decision crystallized in globally operated, remote assassination machines is the very essence of empire: its telos, or end. President Obama’s now-infamous “kill list meetings” sharpen to an obscene purity the American state’s power of judgment over life and death beyond its own citizenry and constitute the distillation of imperium as such.
* Never say never again: ‘Speedy Gonzales’ Eyed As Animated Feature At Warner Bros.
* New Jersey University Was Fake, but Visa Fraud Arrests Are Real. Fake New Jersey University Established by Cops to Catch Visa Fraud Has Pretty Good Job Placement. Fake, real, real, fake, let’s not quibble — are they hiring?
* The ideology of the future: Kiplinger’s presents 20 Amazing Ways Life Will Be Different in 2030.
* The Future Happened 56 Million Years Ago.
* Plants Taking Over New York City Is What Will Happen When the World Ends.
* At this Florida jail, the inmates are also zookeepers.
* How to Write a History of Video Game Warfare.
* Prestige TV is a nightmare from which we are all struggling to awake: Dexter return to television confirmed.
* My next screenplay: Radioactive boars are running wild and breeding uncontrollably in the northern region of Japan contaminated by the Fukushima nuclear disaster.
* Bernie Sanders Is Even Less Competitive Than He Appears.
* Bruce Springsteen Cancels North Carolina Concert in Protest of Anti-LGBT Bathroom Bill.
* Our prayers answered, Paul F. Tompkins was finally on Harmontown. I’ve also really been loving the back catalogue of Hello, from the Magic Tavern and (at long last) Welcome to Night Vale after a sojourn through It’s That Episode. Non-podcast news after the link!
* Now more than ever, it’s time for Animaniacs.
* * So does this: The Warriors Are Now Long Shots To Win 73 Games.
* Saddest of all: The New Jersey Swamp Dragons? It almost happened.
* Not for me, but maybe for you: LARB has a Grantland-style sports spinoff.
* Grant Morrison was right! Science Says Superman Should Be Black.
* This seems pretty plausible, honestly.
* And I don’t need to tell you what’s coming. Every Cool Detail We Spotted in the Rogue One: A Star Wars Story Trailer.
‘Why We Love Sociopaths’
Kotsko has an extended excerpt from his sociopaths book up at The New Inquiry. I read the book while we were in the hospital post-Zoey; it’s a truly great take on the last decade’s Second Golden Age of Television. Check it out!
This Was Monday
* All these worlds are yours, except Kepler 10-b. Attempt no landings there.
* Autonomous organization: In urban N.J. areas, few residents disrespect unwritten rule of reserving snow-cleared parking spots.
* Matt Taibbi gets introspective.
For my part, as a member of the political media, and a vitriol-spewing one at that, the Tucson shooting immediately made me ask myself the question: do I personally do anything to add to this obvious problem of a hypercharged, rhetorically overheated political atmosphere? And the unfortunate answer I came up with was, maybe. I’ve always told myself that what I do is different from what someone like Rush does, because I don’t target classes of people and try not to exempt anyone (even myself) from criticism, or favor either party.
I’ve also counted on the belief that anyone who’s willing to devote the mental energy to even follow whatever wild rhetoric I’m using is probably also smart enough to tell the difference between reality and hyperbole. I also hope that anyone reading my articles will get the underlying message that I’m pretty sure — I hope I’m sure, anyway — I’m conveying at all times, i.e. that violence is irresponsible, that we should use our brains instead of baseball bats to solve problems, etc.
But while I tell myself all these things, I also know that I would never talk to my wife or my mother the way I talk to Lloyd Blankfein. Is it ever right to just wind up and let someone have it with all you’ve got? That’s a question that I think has to be asked. It’s certainly possible that we’ve all become too used to unrestrained rhetoric as a form of entertainment, and people like me live right in the middle of the guilt parabola there. Most all of us are grownups and can handle extreme argument, but clearly some people are not, and obviously I’m not just talking about Jared Loughner.
To see that, all you have to do is attend almost any family gathering, where once-loving relationships have been completely lost because of the overheated right-left culture war. If real family relationships are being lost to this kind of political debate, if someone on TV can reach into your living room and break up your family without knowing anything about you or even knowing that you exist, that tells us that this mechanized mass-media rhetoric has been almost unimaginably successful at dehumanizing whole classes of people.
* The University of California Student Association responds to news of an additional half-billion dollars in cuts to education in California.
* Short film of the night: “Three Minutes.”
* Infographic of the night: Dexter’s victims.
Entertainment News
Entertainment news!
* The writers’ strike is now officially over, which means the Daily Show and Colbert writers will be back tonight. You can watch with a clear conscience now.
* High off their comeback success on No Country for Old Men, the Coens are going to adapt and direct Michael Chabon’s The Yiddish Policeman’s Union.
* One interesting consequence of the strike: Showtime’s Dexter, a show I’ve talked up in the past, will be on CBS this spring, starting this Friday.
The last day of summer, which I diligently passed in a futile attempt to finish up my summer tasks before school starts tomorrow. (Came close. So close.) I found time for a little TV, though, and the show of the week was Showtime’s Dexter, new to DVD. Easily surpassing Weeds as the best of Showtime’s lineup, most of you probably already know the basic setup: Dexter is a police procedural centered on a blood-splatter analyst who, in his spare time, is a serial killer himself. As schlocky as this sounds, the show is actually good, mostly credited to the strong performance of Michael C. Hall as the sociopathic title character and James Remar as Dexter’s deceased father Harry, a psychologically scarred police officer who recognized his foster son’s violent tendencies and trained him to safely kill only those who “deserve” it. In this respect Dexter joins Jack Bauer and McGarnagle (witty cultural reference cribbed from this spoiler-laden Yahoo.com review) as the latest entry in the increasingly popular (at least in George Bush’s America) “breaking the law to save the law” genre.
But the true progenitor of Dexter, I think, is actually the superhero comic, from which it takes its damaged Dark Knight archetype, its moral universe, Dexter’s common ruminations on his secret identity, its flashback-laden form, and even its sense of Camp (see photo)—including Supermanesque winks to the camera at the end of a number of episodes. (The comics connection is made explicit by Julie Benz’s character in the yet-to-be-aired but deliciously-torrentable second season premiere, when she compares Dexter’s bizarre disappearances to “Clark Fucking Kent.”)
If the show suffers from anything, it’s surely this comic-book sense of character—the characterization seems to vary greatly depending on who is writing a particular episode. Even Dexter himself shifts pretty dramatically between the pilot and the later season one episodes—once a true sociopath, only miming his humanity to innoculate himself against suspicion, he very quickly devolves into a much more conventional, conflicted and relatable version of the character, with the early second season threatening to just go ahead and turn him into Angel altogether. Still, I’m hopeful, because the plotline they’ve chosen for the second season is just about the only worthy follow-up to the first season’s (spoilers, highlight to read): Whereas in the first season his nemesis is villainous—another, more brutal and indiscriminate serial killer—in the second season Dexter’s submerged stash of bodies is discovered and his nemesis is the FBI supercop brought in to take him down, that is, a traditional police hero. (Literary analysis cribbed from Jaimee.)
It’s a promising show. Keep an eye on it.
And now here’s McGarnagle.
Gerry Canavan 