There’s A Riot Goin’ On

Greek debt crisis news: 14 people arrested during violent protests ...

Word of the bombing spread virus-quick across the hi-tension infovine, fingers pointing and accusations flying through the humid miasma of Puerto de San Frantic. Free D. knew about it soon enough to make a few bucks off it before it hit the metamedia. Possibly the last readicash he’d lay hands on for quite some time. Situation ripe for a riot, had been for months, years, maybe the whole of the century, and most of the one before. Free D. could smell the bitter end of his own San Frantic era, already laying the groundwork for his next move, a new base of operations in another hotspot far from home, another 3rdWorld subsidiary a year or two from absolute boilover. For San Frantic, the moment had finally arrived.  Thousands of angry citizens, many indigenas, pressed to the limits of their long-seething outrage. Such a minor indignity, this, an indefinite number of civilian casualties caught within the blast radius, wrong-place/wrong-time pedestrians, extras in the epic pageant of subsidized violence, bit players in the corporate cold war. Somebody’s spouse, still and all, somebody’s sibling, parent, offspring.  Innocence could only be measured in degrees, but these unlucky few were now instant martyrs, unable to enjoy their elevated status, the spontaneous emergence from anonymity into historic posterity, 15 minutes of posthumous fame for a few dozen corpses blown to glory.

            A rally in the zocalo, bracketed by the church, the Edificio Federal, the Nordstrom’s and the US Embassy, remained peaceable for nearly half an hour before incendiary remarks sparked volatile tempers and rebellious fire smoldered, flared and finally blazed out of control. Free D. watched it all from the vista of a penthouse suite at the Mono/Hilton, sipping top shelf scotch with foreign journalists from all over the 1stWorld, tuning in on the Wavemonitors an event that was occuring live right outside their windowall. Copying each other’s notes, Xeroxing each other’s dispatches, transfaxing glib, indifferent, and utterly half-assed reports to UPI and the InterSystem Wavewire, vocalizing contempt for the wretched citizenry and their ill-timed pseudocoup, interfering as it did with  3rd World Cup coverage and delaying  payoffs from the bookmakers. Only Free D. and a couple of others watched it live, a Frenchman from the Paris Match overcome with ennui, way past horror or disgust, just plain bored, and a hearty blonde from Lapland, oohing and aahing and trying to figure out just who she should root for; in the end, she went with Nordstrom’s.

 On the square, rocks, sticks, bottles, claw hammers, axe handles and small arms flew, swung, and fired, even as gun-happy government thugs rubber-bulleted, tear-gassed, stun-gunned, and billy-clubbed the huddled masses.  Clashers on both sides fell, clutching bloody head wounds only to be trampled by boots, sandals, sneakers, and high heels. Not that there were sides, as such. Just a surging mass of bodies, the individuals who comprised the whole somehow able to distinguish the enemy in the midst of all that heat and dust and chemical smoke.  Clusters of luckless rioters found themselves coated in fast-hardening crowd-control foam spewing from hoses like a monster-mutant moneyshot from some XXX-rated Japanime. Still others were snared in Taser-charged webs of shocknet.  But they were greater in numbers than the better-armed goons, and even the high-tech hand-me-down weaponry was no match for the amorphous collective of raw primal fury. 

            Free D. looked on, rapt, fascinated, secretly loving it for a bundle of contradictory reasons, happily sucking back the ill-gotten booze from these ratbastards’ double-stocked minibars, ignoring the sophomoric babble of wisecracks and Catholic jokes and Universal toilet humor delivered and traded in two dozen languages, most of which Free understood. Outside, the American Embassy troops remained blandly neutral, stony eyes observing events from their own semi-remote vantage, behind the electrified perimeter gates, as a section of the hostile mob detached itself and surged up the steps of the federal building, into a stuttering hail of real bullets this time, panicky soldiers on full automatic.  Another group, mostly women, some kids, swept south, hurling fury at the plate glass display windows of the department store, the overwhelmed Nordstrom’s security contingent resorting to their own lethal means of merchandise protection, negative publicity be damned. Only the church, more or less defenseless, remained immune to the conflagration, regarded by the mob as both sanctuary and headquarters, though a lone altar boy guarded its entrance, equipped with an  Israeli flame thrower, mostly for show. Within the cathedral, priests, nuns, and other clerical workers were shuttling gilded treasures to a basement vault, just in case.

            Rioters inside the fed edifice now, Free D. didn’t even have to use his imagination; Wavelinx connected the metamedia suite to all the action, covered now by oldschool wallmounted vidcams, images instantaneously colorized as they came over the monitors.  Bloodthirsty San Franticanos carrying the carnage down the sumptuously carpeted and ornately adorned halls, into the offices and apartments and conference chambers, bludgeoning hapless secretaries and low-echelon civil servants, left behind when el Presidente and his entourage fled for safety through the labyrinth of subterranean tunnels that led west to the airport, east to the harbor, or straight down to the fortified bunker, an artifact of the Atomic Age. The vidcams down there had all been disabled by a previous administration, during the turnover coups of Decade Zero.  Apparently that long-gone dictator’s mistrust of the metamedia joybuzzards extended to the potential betrayal of his sanctuary location; should he be compelled to flee, he didn’t want either his destination or hiding place broadcast to the free world, or even a roomful of pisstakers like this one; from what little history Free D. could remember of that era, the epaulet marionette in question didn’t reign—or survive—long enough to realize his concerns. 

Back in the present, whatever passed for leadership on either side was maintaining a profile so low as to render its representatives invisible. Free D. couldn’t help thinking that if the movement possessed any organizational faculties, they might take this opportunity to install a new leader, claim their restless uprising as a legitimate coup, wait for the smoke to clear, the blood to dry, the world to recognize their legitimacy, and the corruption to take hold. But this was classic chaos, old-fashioned anarchy, even the ostensible instigators and principle agitators no longer held any sway over the teeming throngs, their outrage now a multi-headed, many-limbed beast of its own, mythic in proportion, mindless at the core. Wild-eyed, unrelenting, some among its number now armed with the lethal machinery absconded from fallen loyalists, catching each other in the misdirected crossfire of their sadistic ire.

            As the melee swirled outward and on, something less than thirty minutes having passed since the first stone was cast, the zocalo ran red with the slick spillage of vital fluid, bodies broken and scattered, assuming impossible contortions, faces frozen in expressions of agony, surprise, terror, and dismay.  Even way up here, safe and soundproofed, the screams of the injured and dying could be heard, mingling with the frenzied cacophony of righteous defiance and unbridled contempt, the same rage no matter who fought on which side.

            Looters pouring out of Nordstrom’s, Free D. aware of his companion, the girl from reindeer country emitting throat-stuck ululations of outrage and envy as the desperate citizens rushed around frantic and antlike down below, clutching clothing and cosmetics, jewelry and appliances, furniture and housewares.  Politics forgotten, ideals abandoned in the mad rush of conspicuous consumption, seizing whatever useless gewgaws were at hand, possession at last of the material trappings so long denied them, inanimate iCons of the good life, as if bath towels and table lamps and IntraVid rigs guaranteed sudden prosperity, an instant change of status inherent in their bulk and heft, the softness of cloth or solidity of hard plastic, the aesthetic freshness of something brand new, mass-produced items heretofore known only to those among them fortunate enough to be involved in their production, handling each fleeting item as it rolled by on the ceaseless assembly line. Willing now to catch a bullet to bring home a handful of the middle-class dream.

            And so it raged, bloody and feverish and savage, well into the night, the antic madness backlit by the hellish glow of burning dumpsters and shopfronts and an occasional warning flame from the altar boy when things got too close for the church’s comfort. Diplomats within the embassy reporting events to stateside liaisons, who in turn kept the corporate interests apprised, as the stock market closed at a record low for the day.

Irving fuckin’ Pentler, Pornographer to the Stars

Sleazebag = Someone who you think is dishonest or immoral. Pessoa considerada desonesta ou imoral. Picareta.

Victoria Atomblast. Damon goddam Ross. Fuckin Anthrax fuckin Ripple. The Bogart bitch. Not to mention, the Feds®, the Mob®, Disney®, and every easily offended religious group in the flippin’ freakin’ fuckin’ world.  He had nowhere left to go, no country could, would, hide his sorry ass, not even if he offered to pay off their national debt, and there were not a few hot spots his fortunes couldn’t aid considerably.

So here he was, halfway to heat stroke in Sedona, Arizona, waiting for a MONOlimo to haul his ass to Reno, when he really wanted Canaveral, one shot, off-world, hitch a ride with the boys from Global Armed Service, lay low on the moon until things cooled off, or catch a McD® shuttle, assume a whole new ident and buy into a franchise outlet on the Galleria Cluster.

Absurd, what it was. Irving Pentler, wanted for no greater crime than entertainment, a felony count of giving the people what they want.  Consumercide. The devil out of context, convenient fall-guy for overzealous neo-Victorians and the self-righteous ultra-Right. But even the Farther Left refused to embrace or endorse him as the last bastion of free speech, and so he remained its bastard. Lonely token of absolute truth in marketing; one man’s sin was another man’s religion. He dealt straight dope to the masses. 

Sedona was supposed to be some kind of “power spot,” this according to one of the girls who worked his psychic sex line, 1-900-MINDFUK, something about a High Magnetic Resonance, which she’d probably read in one of those TIME/LIFE® books, Mystic Drivel, or somesuch. Meant nothing to him, Irving being a fast and firm pragmatist, believer in the here and now, that which could be seen and touched, bought and sold. Commodity dogma, the only $piritual rhetoric he understood. Televangelist of the flesh. The guru of bodily fluids. Metaphysician of earthly prurience. The High Priest of Porn, one journalist had called him, and he liked that. 

He’d been waiting three hours in a window booth at Ronnie’s Super Pumper just off 89A, still no sign of his scheduled pick-up, the thought of which gnawed at the greasy edges of his still-digesting Western Omelette, butterfly anxiety sloshing about forlornly in a pot and a half of truck-stop coffee; the fellas at MONOLITH were notorious sticklers for punctuality.  Couldn’t help wondering if he’d somehow slid from their favor, if they were just fucking with his head or maybe they were out to whack him, too. 

6am, almost, no one else in the place but the short-order, the hash slinger, a couple of road-bleary long-haulers trembling on the verge of amphetamine psychosis, apple pie a la mode for breakfast and they just sat there watching the ice cream melt.

A Meat City wagon pulled off the highway and rumbled across the lot, belching smoke and pissing radiator fluid, obviously fresh from a Safety Belt run, punctured from grill to mudflaps with bulletholes and crossbolts, armored side panels scorched and rent by various explosive projectiles. Shuddered to a stop in the space right out front of Irving’s booth, blocking his view of the road.

“Bastard,” he muttered, rising from his table to go confront the thoughtless trucker. Stopped short when he saw the Caddo Indian lower his burly frame from the cab, bare-chested except for a denim vest emblazoned on the back with the famous tongue-and-lips logo of the Rolling Stones. Sputtering expletives, Irving fumbled for his wallet, cursing further when he noted the lack of cash within; he didn’t want to use plastic, too traceable.

The Indian eyed him darkly, and Irving shivered involuntarily; the trucker passed the wait station, indicating his desire for coffee with the slightest flip of his twin ponytails, came straight for Irving’s table, motioning for him to sit back down, which Irving did, much to the chagrin of his own whim.

“Mr. Pentler,” the Indian said, no question of doubt in his rumbling voice. Seated himself without invitation.

“Can I help you?” Irving asked, a taste of venom in his tone, tapping his MONOVisa debit card against the linoleum tabletop.

“My name is Benedict Red Eagle,” the Indian replied, sliding one of Irving’s First Strike’s from the pack on the table. “Gotta light?”

Snarling inwardly, Irving flipped his Zippo open and thumbed the spark wheel, butane reek tingling his inflamed nostrils as he proffered the flame. “So, whattaya want? Free meal? A job? I ain’t a freakin’ flippin’ fuckin’ charity, red.”

Ben Red Eagle laughed, hearty, borderline maniacal, took a long drag and lapsed into a deep, phlegmy fit of coughing. “I got a job, Mr. Pentler.”

“Yeah, uh-huh, lemme guess, delivering meat, right?” Irving snorted derisively, jerking a thumb at the battered wagon just outside the window.

Red Eagle smiled, smoked. “You could say that.”

“Look, Geronimo, it’s a little early in my mornin’ for Native American crypticisms, aright?”

“Sure, sure,” Red Eagle replied, watching his smoke ring spread, then exhaling a series of smaller ones, each passing neatly through the center of its predecessor. “You’re, uh, waiting for someone, right? A ride, I think.”

“I dunno, yeah, maybe. Who the fuck are you, know so much?”

“I’m him.”

“You’re who? Goddam Crazy Horse?”

“I’m your…ha…chauffeur.”

Irving wanted nothing more than to wipe the insipid grin off this redskin’s hatchet face, feared losing his fingers to a sudden tomahawk.  “This some numbfuck’s idea a funny?”

            Ben Red Eagle shook his head, a shadow of solemnity passing over his features. “I don’t think so.”

Irving eyed the truck, turned back to the driver.  “Uh-uh.  I don’t know what those MONOLITH sonsabitches is tryna pull, but I ain’t goin nowhere in that rollin’ target.”

“You don’t really have much of a choice.”

“I suppose yer gonna tell me it’s for my own safety.”

“Safety?”  Red Eagle smirked. “Sure, sure, it’s all about Safety.”

Irving rubbed his itching eyes, his pounding temples, his burning nostrils, contemplating his options, which amounted to little more than nervous breakdown, psychotic episode, toxic personal apocalypse. “So, yer, like, takin me to Reno, is that it?”

“Somewhere,” Ben Coyote answered, shoveling a mouthful of home fries from the plate the waitress had just wordlessly set in front of him.

Irving blinked, confused and jonesing. “Reno.”

“Whatever,” Coyote said, ketchup staining his heavy lips, grease dribbling down his hairless chin. “You da boss,” the red man doing an absurd and awkward Stepin Fetchit parody.

“I’m dead,” Irving muttered.

“Not yet, chemo-sabe.”

“Can we get outta here?”

“I’m eating.”

“Fuckit, I’m usin’ the toilet, an when I’m done, we go. Kapeach?”

“Sure, sure.”

No stall door in the john—”fuckin christ”—but Irving drew out his stash anyhow, used his Beamer key to scoop up a hefty clump of white powder and raised it to his nose, hand suddenly possessed by a violent paroxysm, watching in frustration and horror as the coke tumbled into the backed-up toilet bowl like soft snow falling on wet mud. Attempted again and again to administer his quarterly dosage, each time losing it just as the fine flakes tickled his nose hair. Emptied the bag that way, finally licking his finger in desperation and sticking it in the crystalline residue, but another convulsion shook him and the baggie followed its contents into the vat of fecal stew. He knelt on the sticky floor, wanting to scream, to sob, to mourn this worst of all possible losses. Furious, stricken, he scanned the toilet seat for a hint of the dust, but whatever might have landed there was now dissipated in droplets of urine. He slammed out of the bathroom, sweaty and fuming, stormed over to the table and gestured wildly at the masticating Indian. 

“Okay, Sitting Bull, let’s go.”

“No luck, huh?”

“What the fuck’re you talkin’ about?”

Red Eagle pointed at the men’s room. “You were in there a long time,” he explained, mopping at his mouth with a napkin. “And you still look like you need to take a shit.”

Victoria Atomblast

I am sprawled, languid and insouciant, on Irving’s king-and-a-half-size bed, the gelatin mattress molded around my edges; the industrial-strength muscle relaxants have just started doing their thing and I can barely focus on the wall monitor, incessantly flashing life-size high-res images of burning Los Angeles and its blood-crazy citizens, like a riot right here in the penthouse being staged for my benefit. I fumble for last night’s half-finished champagne, unable to remember who I shared it with, or when they left me by my lonesome. Flat and warm, of course, but it’s Dom ’53 so I drink it anyhoo, straight from the bottle like the cheap piece of street trash I really am inside. Gargle it like mouthwash, almost choking on it when I hear the elevator gate crash open, spitting up a fine spray of the stuff at a noise like ten thousand jackboots goose-stepping my way across the vast living room.

“Irving! Where are you, you son-of-a-bitch! You better not be here cause I am fully prepared to disembowel your skinny little cokefiend ass, pull your guts right out through your deviated septum!” A screeching harpy drawing ever nearer, pounding on the bedroom door with a fist apparently gloved in iron. I slip a hand under one of the pillows, searching for Irving’s Magnum; it isn’t there.

The door splits its hinges with a thunderclap, wood splinters and plaster particles exploding inward, and framed in the ruined doorway stands a sneering Amazon warrior goddess, a living mythic entity, fire flashing from ice-blue eyes, robust and muscular body apparently tensed to pounce, ethereal, evil, delicious. I want her instantly, wet and hard all at once.

“What the fuck are you?” she snarls, glaring darts and daggers.

I could very well ask you the same, I want to say, but my vocal chords are suddenly rendered dysfunctional, as if by some wicked magick being perpetrated from her unfathomable power source.

“Where’s Irving?”

“Ow–ow–outta town,” I stammer, embarrassed and awed.

“Bullshit. I can smell him,” she declares, cruising the bedroom, tearing open closets, wardrobes, chests, disappearing into the master bath.  “Son-of-a-bitch!” she shrieks, fuming at the absence of her prey.

“Wh-what is it, hon?” I manage with uncharacteristic timidity. “Maybe I can help?”

“I doubt it, sister,” she states, matter-of-fact now, her narrowed eyes taking me in with a hint of interest.

“I’m—my name’s—Tom-boy,” I inform her, trying to smile.

“Victoria,” she replies, clasping, nearly crushing my hand in her vinyl-gloved grip.

“Oh my God,” I gulp, overwhelmed by this unexpected brush with greatness.  “Not the—”

“Victoria Atomblast,” she says curtly, apparently unimpressed by the attentions of yet another adoring fan.

“So,” she continues, giving me a frank and slightly contemptuous appraisal. “You must be Irving’s new…plaything.”

“You…could…say that…” I mutter humbly, blushing at the fragility of my own ego, crumpled now to the proportions of a spitball.

“Well, tell that despicable prick I stopped by,” Victoria says, kicking the broken door aside with her heavy-duty paratrooper boots. “I’ll be back to kill him later.”

“Waitwaitwait!” I cry, attempting to stay her determined departure with tremulous outstretched fingers.

“Whattayawant?” she spits over one shoulder, pausing in the threshold.

“You,” I respond, shy and docile.

She hesitates, eyes narrowed to frightening slits, then whirls around and comes straight at me…

“So, if you’re such a big fuckin fan, how come you didn’t recognize me when I kicked in Irving’s door?”  Victoria asks me later, her enhanced pneumatic frame bunched up against me. For a moment, I’m at a loss.  But only for a moment.

“Maybe ‘cause you look so much like you do on the tube, I thought you had to be an impersonator,” I say, opting not to tell her that it’s really because she’s so much more…diminutive, ahem, than I anticipated. She isn’t a dwarf, by any means, nor disproportionately endowed, just kind of small and stocky, a full-figured gal, Rubenesque, all that, except in miniature. She is sort of cuddly, subtly passive, exuding an unexpectedly sisterly eroticism, which only vaguely dampens my initial desire.  Not at all the insatiable ball-busting freak-fucking dynamatrix whose flagrant sexual caprice has made her not only a household name, but in This Thing’s not insubstantial estimation, the greatest star who ever shone her light on this unworthy little ball of dung.

            She is mine for an hour, maybe two, and then she splits, off to run some other tedious errand of vengeance, apparently her second occupation, though she claims she just does it to unwind.  I am left with her smell all over me and the small depression she’s made in the sheets.

Didn’t even get to ask why she wants to kill Irving. I consider warning him, figure he doesn’t wanna be bothered on his vacation, blow it off. Besides, it’s just so much…effort.

Houston, We’ve Got A Problem (2001 Flushes)

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“Mulliver, the most important thing to remember about this mis—zzt—the whole she—pop—is—squawk. You got that? That’s it. Without you, folks are pretty much—fzzh. Keep that in mind. Brainthrust out.” Zzzk.
            “Sir!” Mully banged futilely on the monitor, as if the solar interference was nothing more than bad reception during a Bowl game.  “Sir, what…?” But it was no use. Outside the atmosphere, there wasn’t much you could do about wavejam.
            “Fuck it,” Mully muttered, tapping a Camel straight on the console and punching in the jerry-rigged dash lighter. As commander of the Globeshuttle IRON LUNG, he didn’t give a good goddamn about Co. directives. Just another charter where he was concerned, a slow and easy way to pay the bills. And in space, there were no bills. And no place to spend the dough. Anyway, let the dinks who’d converted his rec room into a floating speed lab worry about terrestrial needs. He’d relocated the wet bar to the front cabin, okay by him, but the Ping-Pong table was stored in a corridor adjacent to the airlock, where it rattled and rolled calamitously whenever the boosters fired, which seemed at times to occur at the shuttle’s own whim, a glitch Mully would find time to fix one of these days.
As long as he was at the helm, he decided to kick back with a Jack rocks and watch the Earth loom ever nearer in the forward viewscreen. No pressing need to pass on the Co. static to the dinks. They had their orders, what they didn’t know already they’d savvy soon enough upon their unceremonious deposit in the thick of the LA fray. This was it, the ultimate proving ground for the Pan-Utopian Gestapo. It tickled him to think of it, this bunch of pseudo-military slacker trainees being called in non sub rosa to quell an Earth-bound uprising after six muscle-atrophying months monitoring the stars for the barest hint of an unlikely intergalactic threat.
            His thought balloon was heedlessly punctured by a thundercrack, something striking, sizzling against the hull. The shuttle keeled sideways in space, shuddered, engines whining, righted itself and resumed course.  Reminiscent of old-school attack simulations, he thought. Of course, that was out of the question; more likely some stray NASA debris that the fritzed-out sensors didn’t pick up. Gulped the last of his Jack and prepared to run an external scan. Interrupted by sudden red-light buzz from the dashcom, he tapped a button, grunted a brusque monosyllable and received the stricken, quavering voice of the usually laconic Pinback down in maintenance.
            “Capt., we got a situation down here?”
            “Pinback, what are you doing on this frequency?”
            “This is definitely Priority Level 1, sir. Whatever just hit us pierced the sewage tanks.”
            “Oh, for Shephard’s sake. Just jettison the damn things.”
            “Too late for that, sir. It’s flooded engineering already.”
 
            A Global Armed Services inquest would later reveal that the cause of the minimized catastrophe was a Coca-Cola ad/sat, its scanners having apparently misread the Stars-n-Stripes decals on the shuttle hull as the similarly red-white-&-blue Pepsico logo entering its airspace, activating its weapons array, which fired a warning beam at the supposed intruder. As a result, Mulliver and the crew of the disemboweled IRON LUNG were left with no choice but to break contract and return immediately to the lunar surface, prematurely aborting the much-anticipated first employment of the Global Armed Service forces. Subsequently, all ships of US origin were compelled to drop their colors in deference to corporate stratagem.


The Good Fight 4: Homefront Out Today!

The Good Fight 4

Happy May Day, people! In honor of the occasion, why not go and get yourself a copy of The Good Fight 4: Homefront and check out Love Vigilantes, my latest addition to the ongoing saga of Duke “HandCannon” LaRue. This one’s the wild, raucous tale of his whirlwind romance, railgun wedding, domestic disasters, and unfathomable fallout with the love of his life and one-time partner-in-crime Liza Fate. Lots of other great tales of superheroic domesticity between these covers (be they paperback or digital). If you prefer, you can always hold out for a hard copy from me, once I’ve got my order in. Thank you for your continued patronage. Both of you!

Last Dance: The Tall Tale TV Audio Edition

Chris Herron at Tall Tale TV has done an audio version of my HandCannon short story, “Last Dance.” Chris himself has a great personal story, having turned on to audiobooks when he was suffering from temporary legal blindness in 2015. He’s since recovered, but launched this project both as a way to give back to folks who can’t experience stories the traditional way, and to give authors like me a promotional boost without having to shell out for the expense of creating an audiobook on our own. I think he’s done a terrific job and his project deserves more eyeballs and earholes, so how about you give this, and other Tall Tale TV stories, a listen?

Legion of Damn! Thoughts on the Best Thing to Ever Happen to TV in the History of Recorded Time

Back in the 1990s, when I was a flat-dwelling San Francisco Gen X slacktivist too busy falling in futile love with lesbians and smoking speed out of broken lightbulbs to do something as mundane as, ugh, watch TV, there was a live action series inspired by the X-Men comics I’d loved as a kid. Apparently, it looked something like this…

kinopoisk.ru

It’s as if they managed to capture the essence of everything questionable, wrong-headed and lame about the decade and distill it into a single syndicated television program. (Hopefully they later jettisoned it into the far reaches of space.) Granted, I also thought I was too cool for comics at the time, but even if I hadn’t been, I doubt I’d have been slavering at the mouth for a weekly taste of whatever this is pictured here to satisfy my cravings for supertainment.

Four years later Bryan Singer’s X-Men would arrive and upend everything about the moribund live action superhero film that the ’90s Bat-franchise had so successfully driven to the edge of its grave.

Xmen-Featured

That’s a massive leap forward in less than half a decade, but it made a promise that the the 2ks would be lot more interesting for mutant-lovers and comics geeks, and it re-inspired my appreciation for those old funnybooks by using the Claremont/Byrne era I read and loved as a touchstone.

But countless superhero franchise flicks later, and after the dull thud of Age of Apocalypse, you might forgive me for summoning images of Generation X‘s ’90s-era awfulness when I heard that FX was going to do a live-action X-Men show based on an obscure character (to me, at least) from the ’80s New Mutants books (I never read those).  

Of course, I had a glimmer of interest when I heard that Noah Hawley was going to be the guiding force behind it, not least because I’d had such a similar reaction when I first heard that someone was going to make a TV version of the Coen brothers classic film Fargo. After all, someone had already tried that idea years earlier, too, and it did not meet with what you might call success.

But Hawley somehow managed to nail the language and storytelling rhythms of the Coens so well, I was convinced they had a heavy creative hand in the whole endeavor, only to learn later that beyond their exec producer credits they had next to none.

So I had confidence Hawley would at least do something noteworthy with his little slice of the X-franchise. And the casting of Dan Stevens (so great as a kind of sociopathic Steve Rogers in the underseen thriller gem The Guest ), Aubrey Plaza (an out-of-nowhere sensation from Parks & Recreation who really needed to prove that she could do something more than drip dry slacker sarcasm over any and all proceedings), and Jemaine Clement (who’d already busted out of his Flight of the Conchords comedy-music box by tearing it up as a sexy vampire in What We Do in the Shadows) seemed reasonably intriguing, if not outright inspired. So yeah, I figured I’d give it a look. Maybe Hawley would give me something to look forward to on Wednesday nights since I’d abandoned Arrow. Boy, was I underestimating that mad fuckin’ genius.

The pilot for his Legion announced its intentions pretty much from the first scene, introducing the viewer to a bugfuck puzzlebox where it was hard to tell what year, decade or mental facility we were in, or whether we were ever in reality at all. I had to watch the whole thing twice just to try and decide for myself what was happening in 3D reality and what was going on exclusively in the confines of David Haller’s (Stevens) mind. Happily, as art-rocked as the episode was, there were definitive answers to those questions, and David even expressly asked, “Is this real? This is real, right?” at the appropriate moment. And the response he received was not a narrative cheat, but a direct testament to both character and viewer. Basically Hawley saying, “Yes, we’re fucking with you, but no, we’re not.” After that rewatch, I knew that this pretty, occasionally Lynchian multimedia indulgence, with its spot-on music choices and psychodelicate visuals was actually going to tell me a story, and wasn’t just yanking my chain for the sake of getting away with high weirdness on the TV (though that was a pleasant side effect).

I knew it wouldn’t be a show for everybody, but I knew most of my comics-reading friends would love the shit out of it, and even better, it was one I could happily recommend to certain non-comics friends who were more literate in things like Kubrick, David Lynch, David Bowie, and other things arty, entertaining, offbeat and good.

Much like in Logan, Hawley’s show thrives on solid writing, spinning out character beats and scenes about human connection that almost make you forget you’re watching a sci-fi suspense series based on a comic book. And the mutants they’ve contrived for this corner of the X-verse are unique and metaphorical in ways that tend to serve both story and theme. Syd Barrett (Rachel Keller, a full-bodied, full-blooded star in the making forged in the fires of Fargo, and that character name is no accident, Pink Floyd fans) can’t touch anyone lest they switch bodies/identities. So of course she and David have to fall in love. Cary/Kerry Loudermilk (the always-amazing Bill Irwin whose film career stretches back to Robert Altman’s superweird Popeye movie) is a middle-aged man with a kind of parasitic female twin (Amber Midthunder, a lovely young actress with sixteen years of work behind her already and the best surname I’ve ever heard in my life) who can leave his body at will, but generally doesn’t like to, so has aged much slower than him. She’s also kind of a badass. Ptonomy (Jeremie Harris, who can wear the hell out of some clothes) can enter people’s memories, which proves really useful in parsing out what’s going on in David’s brain (the central question being, is he schizophrenic, or a superpowerful mutant that can rewrite the world?). Ptonomy also has an awesome Thompson machine gun.

As much as I’d love to write an episode-by-episode breakdown of why this is the greatest thing to come out of the Farnsworth box and enter the center of my brain like one of Brian O’Blivion’s Videodrome tumors, I know we live in an age where even the most voracious of readers are devolving to have the attention spans of sugar-stimulated gnats, so I’ll try to just brushstroke its greatness in a few more hyperbolic paragraphs of praise.

Back in 2012, X-Men: First Class Screenwriter Zack Stentz tweeted:

“My goal in life is to get “Oh! You Pretty Things” into an X-Men movie. I think I’ve got a good shot at succeeding.”

For those that don’t know, “Oh! You Pretty Things” is a classic David Bowie song from his early masterpiece (just one of many) Hunky Dory. It contains the following lyrics:
Look at your children
See their faces in golden rays
Don’t kid yourself they belong to you
They’re the start of a coming race
The earth is a bitch
We’ve finished our news
Homo Sapiens have outgrown their use
All the strangers came today
And it looks as though they’re here to stayOh you Pretty Things
Don’t you know you’re driving your
Mamas and Papas insane
Oh you Pretty Things
Don’t you know you’re driving your
Mamas and Papas insane
Let me make it plain
You gotta make way for the Homo Superior

I have no idea if David Bowie ever read an X-Men comic, or whether he would have wanted his beautiful song used in a giant mega-blockbuster comic book franchise movie (for enough Euros, though, probably sure). But I do know that those lyrics, by happenstance or design, pretty much summarize the entire reason for being of the X-franchise. That is the very essence of what every really good X-men story is ultimately about. The freaks represent an evolution, and mankind in all its tremulous fearfulness just ain’t fuckin’ ready.

When I read Stentz’s tweet, just after Days of Future Past was announced as the next X-Men flick, I thought, This guy gets it. This is EXACTLY what the soundtrack to a ’70s-set X-movie needs. This is style and attitude and a connection to something bigger than this insular comic book multiverse. 

Then the movie came out, with neither Stentz’s name in the credits nor the song on the soundtrack, and those are not the only ways Days of Future Past disappointed me. But I won’t go into that here. For whatever reason, Stentz has had nothing to do with the franchise since, though I’m sure he’s having a fine career, and no one else in the movie side of X-world seemed to give a shit about his inspired pop musical idea. But over in Hawley’s world…

BAM! A beautiful cover, an expressionistic montage, a pointed use of this terrific song at an integral moment in the show. And that’s just one of the many examples of Hawley’s brilliant use of music to augment and underscore his high-art pop confection, which honestly has a David Bowie feeling all over it, from production design to wardrobe selection to just a general vibe. But back to the music: Pink Floyd’s “Breathe (In the Air)/On the Run” scores a crucial moment in the season finale, and they are another musical force whose artistic identity infuses the show. As musical acts, Floyd and Bowie didn’t shy from scifi concepts; rather they fully embraced them, and they’ve obviously had a profound influence on Hawley’s approach to the genre, to which I can fully relateAgents of S.H.I.E.L.D. did something similar in a recent episode with the Moody Blues “Have You Heard?” and it was terrific. Likewise Winter Soldier’s use of Marvin Gaye’s “Trouble Man” in its closing montage. I just wish more of these comic book shows and films would engage with deep-cut pop culture in this way (and not the wall-to-hall first-flapjack-off-the-griddle song selection of Suicide Squad).

The show doesn’t look like anything else, doesn’t cut together like anything else, says fuck-you to the idea of “where is this?” or “when are we?” It’s overloaded with style, and some might bristle at that, but it’s style worn comfortably over intriguing substance. It’s not afraid to be sentimental, hilarious, terrifying, outrageous, disturbed, distracting, profound and irrelevant, always in the same episode, often in the same moment.

In the early going, I thought Hawley was perhaps just using the Fox/Marvel franchise as a stepping-off point to indulge some weird experimental boundary-pushing televised mindscrew that would have very little relevance to or reverence for the source material. But while it definitely feels like he’s getting away with something, there’s no way that giant synergy machine would ever let him get away with all of that. So for those looking for a fullblown high concept comic booky genre show, it’s definitely there. In spades. With inscrutable government agents and spooky organizations and demonic presences and superpowered showdowns and carnage galore. For those who might watch the first one or two and think, Where is this going? It’s going nowhere, right? like it’s Lost all over again, you needn’t worry. Just as with Fargo, there’s nary an i un-dotted or a t uncrossed in the tightly plotted, flab-free eight episode arc. Why more shows don’t keep things to this manageable number is beyond me (I’m looking at you Netflix/Marvel).

Needless to say after all that emotive gushing, this is not Generation X’s Generation X. It’s post-millennial post-modern high art for lowbrow lovers of pop wonderment. If I ever get a chance to turn The Villain’s Sidekick into a TV series I’d want to do something as tight and well-defined and satisfyingly one-and-done as Hawley’s done with this flagship season. It’s like he’s taken the best lessons of indie film, art school, mini-series, his record collection and serialized soap operatic funnybook storytelling and put it in one of those blenders people pay a thousand bucks for because it can even make hot soup.

Go taste the perfection.

Legion

The Good Fight Vol. 3 For Sale March 21st

March 21st! That’s tomorrow! And by the time some of you read this it’ll be today, or yesterday, or sometime last year when you’ll really wish you’d known about it before all the shit went down. It’s bound to be a wildly entertaining anthology with something for everybody who likes superheroes, funnybooks, movies based on funnybooks about superheroes, TV shows spun off from movies based on funnybooks, or just enjoys slowing their roll long enough in this era of endless infotainment deluge to read crazy genre stuff on the printed and/or digital page.

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The Good Fight Anthology Available for Pre-Order

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A couple years back, I went Googling for ways to connect with other writers scribbling away in the strange little subgenre of superpowered fiction and came across The Pen and Cape Society, a consortium of like-minded scribes all aiming for the same thing–to shed a little more light and legitimacy on the stuff we love to create. They’re an invite-only group, so I kinda forced myself on them, hoping it would help me reach a wider audience and give me a chance to commiserate with my own kind. They were generous enough to deem me worthy, and now, with the imminent publication of the third Good Fight anthology I feel like I’m finally a full-fledged member.

I haven’t read any of the other stories in this collection as yet, but I have read the first two volumes  and they are terrific. I can’t imagine this one being a big step down in quality or anything. As for my fans, both of you should be thrilled to know that I’ve written yet another long-ish short prequel to The Villain’s Sidekickcalled The Henchman’s Apprentice. So if you ever wondered what HandCannon’s first real bad-guy job was like, how he adapted to his machine gun arm and other accoutrements, what kind of tacos he likes, his taste in drugs, and how his first kill went down, this is the place to read about it.

The official release date is March 21st, but The Good Fight, Vol. 3: Sidekicks is available for pre-order right freakin’ now.

Mangold Paints His Masterpiece: A Spoiler-free Review of Logan

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I was going to title this “Holy Fucking Shit! I Just Saw ‘Logan’!” or words to that effect.

But I went a different way.

“Elegaic” is not a word I ever thought I’d be using to describe a movie set in the 20th Century Fox take on the X-Men Universe. I remember sitting in a theater seventeen years ago thinking, “Wow, that’s a better X-Men movie than I ever thought I’d get to see in my lifetime. And that Hugh Jackman guy’s a pretty okay Wolverine. He’s not the ‘Jack Nicholson circa The Shining version of Logan I dreamed of when I read these funny books in the early ’80s, but he’ll do.” I figured he’d do his three movies and be done, y’know?

wolverine-hugh-jackman.jpgA lot has happened in the intervening years since the X-Men ushered in the modern era of superhero filmmaking, for better and for worse, in my life and theirs. Rollercoaster highs and lows, creative swings for the fences and indifferent franchise regurgitations, big money hits and narrative misses. While Disney/Marvel became the fire-breathing synergy dragon, completely upending the idea of what a megafranchise could be, Fox’s X-movies stumbled in and out of the shadows, scrambling not just to keep their licensing rights but to put a creative foot down and do a little territorial pissing of their own. And while Chris Nolan was bringing dour seriousness to Batman to a degree that made it seem like he was slightly embarrassed to be associating with a comic book world, James Mangold was trying to make contemporary Westerns (Copland, 3:10 to Yuma) that felt important, even if they weren’t. But I’ll be damned if he and Jackman haven’t beaten everyone at their own game and made, if not the greatest superhero comic book movie of all time, just a goddamn great movie that happens to be about superpowered people (but is really about aging, mortality and the importance of love and family in giving meaning to a chaotic life). Seriously, Logan makes The Dark Knight look like a Porky’s sequel.

This is Mangold’s Unforgiven meets Children of Men with some No Country for Old Men and Mad Max: Fury Road for good measure, and not just because those films could be counted as influences, but because I left the theater with the same feeling those movies gave me-I just watched a masterpiece. A perfectly controlled piece of smart, propulsive, thoughtful, philosophical, near-perfect storytelling. A movie that was “about something,” while in no way shying away from being a terrific piece of comic book-inspired pop entertainment. A movie drenched in ’70s crime noir and post-modern Western mythology, but also populated with cyborg bounty hunters and borderline feral adorable badass murder children.

LOGAN, Dafne Keen, 2017. ph: Ben Rothstein/TM & copyright © 20th Century Fox Film Corp. All rights

It’s like Alexander Graham Bell never existed in whatever perfect dimension this movie got made in, so no one could phone anything in. The script, first and foremost, is just fantastic. Every line actually means something. It’s all there for a reason. This is capital F for Fuck Yeah Filmmaking where it all matters to everyone involved and they’re taking it seriously because they love it and themselves and you.

The dialogue is great, and not only that, it never feels like it’s just there because that’s what a scriptwriting formula says you have to put in between the big action set pieces. In fact, sometimes it feels like the big action set pieces are just kinda there to sew together all the important scenes of people talking, revealing, misunderstanding and bonding, while they contemplate their histories and sort out their existential dread. And in case you miss my meaning, those action set pieces are INCREDIBLE, and as crucial to the story as anything else that happens.logan-trailer-2-image-9

And the acting is soooo good. Patrick Stewart should be up for some of those awards-type things (he won’t, because we all live in the Darkest Timeline). The young actress who plays X23, Dafne Keen, is a fuckin’ revelation. If George Lucas had looked this hard for his Anakin we’d still be kissing his ass to make more Star Wars movies. Hell, if Abrams had shown this much love for any of the franchises he inherited and got to play with, we’d want him to own all the sandboxes.

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Stephen Merchant kills it so hard as Caliban (a character I never even read a book or story about) that I retroactively wish he’d always been around in the X-movies because I love Caliban so much now. Boyd Holbrook (from Netflix so-so Narcos series) is so great as the bad guy he made me forget Tom Hiddleston’s name for a second. As is Richard E. Grant (from Withnail and I!) as another bad guy who brings so much to a two dimensional character you almost forget you’re supposed to hate him.

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And as for Jackman, well, the only other character/actor I can think of that’s been through this kind of narrative ringer–starting strong, getting dragged through some creative mud and raked over some narrative coals–only to finish up on a high note is maybe Stallone as Rocky Balboa in Creed. But he wasn’t even the main protagonist of that movie! Other than that, there’s no one, not Connery or anyone else as James Bond, not even Harrison Ford as Han Solo, who’s been able to take a franchise character to a place like this and against all possible odds leave on a note so high it’s almost painful in its perfection. And over the course of two decades he had to do a lot of just, y’know, showing up and being Wolverine when they asked him to to get to be able to really do one that did and said everything he could with the character.

It’s hard to even wrap my head around the idea that Mangold and Jackman took their inspiration from that piece of shit Mark Millar graphic novel Old Man Logan. This is the realization of the promise that title teased me with, and where Millar shamelessly aped the moves of Eastwood Westerns and layered it with post-apocalypse grotesquerie, these guys throw every genre in the blender and take it for a heady spin.

old-man-loganI could just be swimming in the pink cloud of post-orgasmic movie-joy afterglow, but not only were there little to none of the “third act problems” that plague even some of my favorite movies in this genre (I’ve watched Winter Soldier at least ten times and I’m still not sure why making everything go ‘splodey-‘splodey over downtown D.C. is the best solution there), I’m not sure this movie had problems at all.

It comes on strong, gives itself room to breathe in the middle, and totally sticks the landing, while retroactively making 17 years of ups and downs in X-moviemaking all seem more significant just by association. It’s almost absurd that it exists, and for an aging nerd like myself, it’s super-gratifying that it does.
See the living fuck out of it.
Yesterday.