Nothing, But the Rain

It might sound odd to some, but, the truth is, I enjoy a rainy day. There's something about the atmospheric pressure - the build and release - that gives me a sense of peace when the water begins to fall. I don't mind being wet and, when it's colder, it's a decent excuse to drink a warm beverage, maybe some soup, and watch a movie or read a book. Staring out of a window into a rain-drenched world, it can be a little melancholic. But, I like that sort of thing - especially when I approach it as life affirming - as I know that this also means the sun will, again, come out soon. And, if not the sun, then the moon. It's an opportunity to be contemplative without being mopey or brooding. And, lets be honest, our world could use a little more contemplation from time to time.

"Nothing, but the rain" is a line taken from Battlestar Galactica, a science fiction re-imagining of the 1970's television series of the same name. Two of the main characters (Bill Adama portrayed by Edward James Olmos; Kara "Starbuck" Thrace; portrayed by Katee Sackhoff - seen left) share a repeated back-and-forth derived from military marching cadences. This exchange deeply resonates with the sense of kinship, understanding, and trust within their father/daughter-like relationship:

Adama: What do you hear, Starbuck?

Starbuck: Nothing, but the rain, sir.

Adama: Then grab your gun and bring in the cat.

Starbuck: Boom boom boom!/Wilco!/Aye-aye, sir. (varied)

It's a great exchange, aptly denoting an emotional connection beyond the words typed on the page. As a creative choice, Ron Moore effectively demonstrates his appreciation for nuance in the fiction he writes. As such, it further adds another element to those that made Battlestar such a great series.

Recently, I've discovered some news concerning Caprica, Battlestar's prequel spin-off series:

James Marsters will be joining the cast and making repeated appearances as an important character!

I'll avoid going into the obvious excitement of having James Marsters as a regular on another television favorite-to-be and go into the greater discussion - the eventual collaboration of Ron D. Moore and Joss Whedon.

It's close and I can feel it. The planets are slowly aligning. Battlestar alum Tamoh Penikett already has found himself as a main character on Whedon's Dollhouse. James Marsters was cast as an important character on Moore's Caprica. And then, of course, there was this little skit from Robot Chicken:

They can leave Seth McFarlane to concoct another version of Family Guy/American Dad. But, the divine union (as I've just now started calling it) smells of inevitability and I cannot wait. In my fantasy world, it looks a lot like this:

(Joss Whedon and Ron Moore are walking outside on the street, each carrying a script)

Whedon: Oh, woe is me! I've started writing the perfect script, but I've only been able to finish the first half! Frustration!

Moore: Wow, Joss that's interesting! I, too, have been working on the perfect script, but I've only been able to finish the second half!

Whedon: That is odd and strangely coincidental!

Moore: Let's exchange scripts and see if we can help each other!

(5 minutes later)

Whedon and Moore: HOLY CRAP!

Whedon: This would be the perfect ending to my script!

Moore: And, this would be the perfect beginning to my script!

Whedon: We should collaborate and create the perfect story in whatever visual medium we decide!

Moore: I agree without reservation! Isn't it interesting how we know all the same people, yet never had this idea before?

Ozkirbas: Hey guys!

Whedon and Moore: Hello there, person we've just met who has materialized from nowhere!

Ozkirbas: I have no clue why or how I'm here, but I wanted to let you know that I've been pulling for this for a long time!

Whedon and Moore: That's excellent, John! We greatly appreciate it!

Ozkirbas: Wow, that was oddly prescient and uttered in complete unision. But, I'm okay with it!

Whedon: Why don' t you come along and we'll introduce you to everyone we know and tell you the secret of our success!

Ozkirbas: Sure! Let me go to the bathroom first just in case I get too excited!

Moore: I would! Because, the first person you're meeting is Katee Sackhoff!

Ozkirbas: Awesome! All my dreams are suddenly coming true!

What a nice fantasy. But, I'm confident it's bound to happen. And, when it does, I will watch nothing else. Nothing.

Torture Porn

That title has a certain draw to it, don't you think? It's been on my mind lately - and not in the fun "Oh boy, oh boy" kind of way.

 A few days ago, I had the opportunity to see a play titled Not Such Stuff - written by Chris Wind, produced by Venus Theater, and costume designed by fellow gentleman Brittany Graham. Brittany did an exceptional job designing a fitting costume for each character (an all-female cast), my favorite being Kate's (which complimented the actress and the character very well). The play itself was decent, a little ham-fisted, but well performed all around. The script seems very unfinished, a little unbalanced (Cordelia's part was a bit of a stretch, but appropriate when looked at as simply raising a question), and it read a lot like a term paper. A lot, a lot. But, its heart is very much in the right place - exploring themes into heavy feminism still relevant today in the modern world. The play takes classic female characters from Shakespeare, puts them directly in the spot light, and affords them a voice to speak out. By doing so, Wind explores male fantasy, objectification, token resistance, the classic double-standard, victim blaming, entitlement, and other impositions that have been placed on not just female characters, but on women since the hunter/gatherer days. A quick look might make it appear "anti-male," but a long, hard one reveals a fervent reaction to hundreds of years of masculine imposition on femininity (which is different from feminism) and affords ample relativity to the present day. And, right now, I'm taking a cold, hard look - fire-eyed - at the horror industry. And I do so while stroking my man-beard.

The skew of Hollywood horror has progressed past simple schadenfreude, cathartic reaction, and inventive methods of simulating entertaining violence, and devolved into torture-porn. Movies like Saw (a movie named for the fact that, in order to attempt a proper escape, the main character has to cut his foot off with a rusty saw) and Eli Roth's Hostel (famed for a gruesome scene where, as a brand of torture, an eyeball is extracted and severed while the victim is awake) capitalize on this continuing trend. Normally, I don't object to gore or violence in movies - I've always felt that it's never about what's used, but how it's conveyed to the audience. And, the current trend has turned to a horribly misogynistic conveyance. It's called torture "porn" not just because there may be gratuitous sex involved, but because it conveys violence in a sexual manner by presenting a dominated party (typically attractive, female, usually white, and often blonde) and, literally, orchestrating scenes so that torture is dolled out and screams are uttered in the framing of someone forcing an orgasm (an obvious logical fallacy). Consider the social repercussions in a concept where a woman is violently subjugated in a forced, erotic fashion, presented to a crowd of people who are supposed to think the experience pleasurable because, well, it's not happening to them. The marketing ploy for the film Hostel II epitomizes the concept by presenting women-to-be-tortured as desired (we'll avoid a rant about the many things wrong with how the highest priced "item" on the menu features American women, making them the  most "desirable" to see in this fashion).

Continuing on, I read a blog post a while ago written by Buffy/Angel creator Joss Whedon discussing the Death of D'ua Khalil titled "Let's Watch a Girl Get Beaten to Death" If there's a reason why I'm such a fan of the man, here it is. I've been a Buffy fan since middle-school and, I admit, I am a bit of a "Whedonphile". I acknowledge that he's just a man and that there will be, one day, more "Whedons" to grace the small and silver-screen alike (perhaps one is chosen every generation or so). This one's just our Whedon. And I think that we would see very eye-to-eye on a lot of issues that I don't necessarily see with many of my male friends. If you've ever wanted a fairly accurate take of my perspective on, well, the world click above (although, I'm not sure if "womb envy" quite explains things completely). For those who opt for naught, to the point: it's a disheartening tale of a woman "honor" killed by being kicked and stoned by a group of men, made exponentially worse by the fact that it made itself around the globe, not for awareness or alarm, but because it was something people just wanted to see. The equivalent of a joke e-mail. Seriously, it's depressing - and it proves that this inappropriate kink is not just present in one culture, but nearly all that use technology. Yay.

How does this relate to torture porn? If Joss's example, using Elisha Cuthbert's recent foray into horror movies, does anything, it outlines the striking similarity between what happened to Ms. Khalil and what Hollywood's been crapping out for the past few years. This goes beyond films with poor story-telling, dependent on cheap thrills and gore factor. When Saw V has made $56,729,973 at the box office (noting, of course, many of these people refuse to admit that they watch it - doesn't that sound like porn to you?) we're looking at a symptom of a social disease. I'm waiting for popular horror to return to its glory form (i.e. For awesome storytelling: The Orphanage, For violence used appropriately with some sweet story: The Signal). I know that doesn't mean things will be fixed - for that I have no delusions (being an open feminist will do that). But, it'll definitely be a step forward in the right direction (or at least help me feel like the flames are dying down).

PS - I talk a little more about this on my private blog here. It's a place to explore my creative writing impulses. Click and look around. Let me know what you think.