265. Fear itself

Frank Tilghman is having scotch on the rocks at the “village worthies meet at Red Webster’s house as he packs up to move following the destruction of his place of business and the subsequent barfight instigated by the arsonist” function, as a totally normal innocent normal man could be expected to do. But he has more to offer than the jolly sound of ice tinkling in his glass. “You scared him last night,” he says to Dalton regarding Brad Wesley, who we’ve just learned from Red Webster has the police department in his pocket, hence the lack of official inquiries when people are beaten half to death in front of hundreds of other people. “Brad Wesley, he’s not afraid of anything, right?” he asks rhetorically. “Well, last night, that son of a bitch was afraid.”

“No he wasn’t,” Dalton retorts, smiling. Normal conversation with normal reactions all around.

Dalton is right, of course. Brad Wesley oozed confidence out of every pore in the Double Deuce the night before. He had his girlfriend or kept woman or whatever poor Denise is strip to prove his prowess. He then ordered his boy Jimmy to fight the bouncers and Wade Garrett for the same reason. Finally, he fired a gun to call the fight off, showing that the action starts and stops on his say-so. He really could not have been more empowered, and more sure of his empowerment, even before we get to the whole “getting away with arson” thing. Christ (as Wesley would say), he went to the Double Deuce for the express purpose of rubbing his role in the arson in everyone’s face!

So once again we must wonder, what’s Tilghman’s angle here? Why is he having a drink? Why is he smiling? Why is he touting a nonexistent weakness in Brad Wesley’s armor to the man he wants to attack that nonexistent weakness? Why would he instigate further hostilities given the tremendous cost incurred by everyone involved other than himself?

264. The Council of Elders

The destruction of Red Webster’s Auto Parts by the coward Brad Wesley triggers alarm bells for the Jasper Chamber of Commerce, or whoever the assembled worthies in the scene that follows the morning after the bar fight are supposed to be. Red and Tilghman, sure, they’d be there. Dalton, why not, he’s obviously the focal point for Brad Wesley’s anger. Doc is Red’s niece, and as the ostensible purpose of the meeting is to persuade him not to pack up and run away from town it makes sense she’d be there. These other fellows? At this point it’s anybody’s guess. So let me be the first to assure you that you will never see the two gentlemen in the background ever again. Who are they? What do they think? Are they Fotomat and 7-Eleven franchisees who got into bed with Brad Wesley and are now feeling buyer’s remorse? Does maybe one of them own the boat store that forms the third point of the Double Deuce/Red’s Auto triangle? Why isn’t Emmett here? What about Big T of Big T Auto Sales, or the crusty guy who sells Dalton spare tires, or the crusty guy who runs one of the several greasy spoons Dalton visits, or anyone we’ve ever seen before? We will never know. Accept the mystery.

But the mustachioed fellow in the ill-fitting gray suit in the center? Ah, so you’ve met Pete Strodenmire. We are currently one hour and twenty-four minutes into the film, with half an hour to go; what better time to introduce a major new character—as well as the fourth and final Car Salesman of Jasper, Missouri—who will go on to participate in the killing of the film’s antagonist? He does little of equivalent efficacy here. He just asks Red if he has insurance and offers to contact a friend in the FBI in Springfield about the arson in order to work around Wesley’s control of the local constabulary. Red truly does not want to hear about either proposal. So in its way this film is setting up our next encounter with Pete just a few minutes hence, when he proves as unable to stop a monster truck from running over his car dealership as he is to talk Red off the ledge here.

One final note here: Can you guess which august personage here assembled wants to continue the fight?

Now why on earth would that be? We wonders, precious, we wonders.

263. “Same town, new story, huh, pal?”

Wade Garrett may have taken a few too many shots to the head at this point, because I swear the thing he says to Dalton as Brad Wesley, Jimmy, and the rest of the gang saunter away makes no sense. “Same town, new story, huh, pal?” he asks, which…I’m sorry, what? Surely he means “New town, same story,” insofar as Dalton and Wade both talk non-stop about how they’ve seen it all before during their lives on the road. Unless he means that their fun time gallivanting with the Doc was one story and now this whole explosion/striptease/barfight scene is a different story entirely. And the beers Wade proposes at the end of this scene—are they a third story? Or would they be a continuation of the first story, the gallivanting-with-Doc story, given how integral beers were to that story? Or is it a continuation of the second story, the explosion/striptease/barfight story, since it takes place in the same location? Or did Sam Elliott flub this line and director Rowdy Herrington liked the sound of it so he kept it intact, like how in “Pass the Mic” Mike D rhymed “commercial” with “commercial” instead of “rehearsal” but it actually made the point he was making (“Everybody rapping like it’s a commercial / acting like life is a big commercial”) better if he delivered it incorrectly?

What a Time to Watch Wrestling

I’ve got my media-consumption hands full. I’m a full-time freelance critic who spends pretty much every free moment watching some show or movie or listening to some album or reading some comic I’m getting paid to write about. I’m a parent of two kids who have their own faves, for which I come along for the ride. My partner, the smartest person I’ve ever met, is a cartoonist and aesthete, adding another set of artistic reference points for me to follow. I don’t watch “real” sports, admittedly, but I play the occasional video game while high, and I think that counts.

Which is why I can tell you without fear of contradiction that wrestling — freaking professional wrestling — is as exciting and engrossing and life-affirming and generally excellent as all of the above. I enjoy it with a purity I didn’t think possible. I think you might, too. Because here’s the thing about being a wrestling fan today: 20 years’ worth of advances in technology, representation, and pure athleticism have made the sport smarter, better, and more fun than ever before.

I wrote about why this is such a great time to get into wrestling for Vulture. This piece was months in the making and means the world to me. I hope you like it, and if you like it I hope you share it!

Music Time: Type O Negative – None More Negative

Type O Negative sounded how clove cigarettes smell, how crushed red velvet feels, how black hair dye looks when it stains your bathroom sink. Led by singer and bassist Peter Steele—a towering figure with bone structure to die for, best described as either Evil Thor or Dracula with a gym membership—these Brooklyn-based purveyors of goth metal spent their career exploring the genre’s inherent tension between seriousness and schtick. Originally released on Record Store Day in a limited run and now reissued (on gorgeous green vinyl), None More Negative packages nearly that entire career, featuring all six albums from their years on Roadrunner Records. (Their final effort, Dead Again, was released on another label and isn’t included here.) It’s a suitably massive set for a band best known for its eerie epics.

The best-known of these kick off 1993’s Bloody Kisses: “Christian Woman” explores its subject’s sublimation of sexuality into the crucified body of Christ with all the subtlety of “Ken Russell’s The Devils: The Musical.” It continues with “Black No. 1,” an affectionate send-up of a goth girl’s beauty regimen that launched the band into the public consciousness, via a striking black-and-white video that received heavy Beavis and Butthead rotation. Both songs showcase Steele’s distinctive, vampiric baritone, complete with theatrically rolled R’s and overemphasized consonants (“on her milk-white neck-kkh, the devil’s mark-k”). The man eroticized diction.

I reviewed Type O Negative’s box set None More Negative for Pitchfork. I should note that for me, any number grade above like 6.2 means “you should give this a listen, it’s worth spending some time with.” To the extent that the numbers are under my control (I never have the final say) I grade with that in mind, something that gets lost when people react to the numbers alone but which I believe is borne out in the text of the reviews. Which I hope people read!

262. Parallels

It’s not often that you encounter two shots of two diametrically opposed characters doing basically the same thing but in such different ways that you can understand everything there is to know about them both at a glance. It’s not often that you encounter a movie like Road House either, though. And here we have two future combatants in a life or death struggle, one arm pulled back, the other extended. The first is poised but serene, making a fist but with no intention to use it, shirtless, glistening, one with nature, wet with nature. The second is enraged, pointing at an enemy, singling him out, hungry for a kill, blocking out the blue light of the happy societal microcosm in which he is an interloper. Dalton and Jimmy, two sides of the same coin, the Batman and Joker of the JC Penney.

261. “Your ass is mine, boy”

There’s a thin line between threat and come-on, and Road House spends its final reels dancing all over it. When Dalton steps in to stop Jimmy’s trouncing of Wade Garrett (and we love Wade, we love Wade Garrett, but this is a piss poor showing on the sensei’s part), he naturally makes a mortal enemy of his opposite number. Jimmy’s relationship with Dalton heretofore has been one of long, meaningful stares, without so much as a word exchanged. But the relationship has escalated, and a statement is called for. It’s almost an overture for the opera to follow, featuring all the major melodies: smug superiority, possessiveness, infantilization, a reference to Dalton’s ass. Jimmy and his biological father Brad Wesley (that’s my statement, no further questions) will return to these refrains over and over as the duel for Jasper heads toward its bloody conclusion. After much toil and tribulation, we will finally learn whose ass is whose.

“The Terror: Infamy” thoughts, Season Two, Episode Six: “Taizo”

Perhaps by now you’ve seen the problem with all this: The allegory at work here is an absolute muddle. The prisoners in this internment camp are being stalked not by some punishing avatar of the crimes of American empire or even those Imperial Japan, but by…a spiritual representation of their own community’s small-mindedness and provincialism, derived from their own mythology and belief system. Horror logic does not have a strict one-to-one relationship with reality—and you shouldn’t trust any polemical horror story that does—but essentially, they brought this particular horror on themselves. Why set the story in an internment camp when you run the risk, unintentional but still very much a factor, of implying that internment is punishment for some original sin?

Indeed, by divorcing the central supernatural premise so totally from the show’s sociopolitical framework, The Terror: Infamy effectively argues itself right out of its historical context. After all, had Japanese Americans never been rounded up and held in concentration camps, wouldn’t Yuko still have risen from the grave to seek Chester and extract revenge against those who wronged her? She’d be just as much the ghost of his suicidal mother if the war never broke out and they were all back home on Terminal Island happily fishing, or even if they’d been permitted to get on board with the war effort like every other American subculture instead of being treated like the enemy within. Why bother with the internment camp setting at all?

I reviewed this week’s episode of The Terror: Infamy for the A.V. Club. Despite showing some life in the supernatural department, it’s a mess.

260. “This isn’t working out, Dalton”

Brad Wesley has had enough, though it’s unclear of what. Denise’s dance? He ordered it. The barfight? He started it. Jimmy’s faceoff with an outmatched Wade Garrett and an untested Dalton? He instigated it. Everything happening in the Double Deuce right now—even the bit where the whole place ran out to watch Red Webster’s store explode—is Brad Wesley’s design. So why fire a gun in the air and call everything off?

When all you have is a hammer, every problem looks like a nail. Brad Wesley has two things: a colossal ego, and a gun. Not even he can shoot a man or two men to death in front of a bar full of witnesses, but still, the possession of the gun necessitates its use. That’s when the colossal ego comes in. Brad Wesley made the nights events happen, and he must show that he can unmake them as well.

What’s more, he must exert ownership over all of the involved parties. Think of how he told Denise to dance: “Of course you can dance, honey,” as if she’d asked his permission. It was noblesse oblige even to phrase it that way—he was commanding her, not responding to an audible request after all—but it still put him in the driver’s seat. So too did rolling with Dalton’s pet metaphor and summoning forth Jimmy, his top dog.

And so does his statement, after firing the gun to stop everyone in their tracks and saying “that’s enough”: “This isn’t working out, Dalton.” As if Dalton had asked. As if he and Dalton had entered into some agreement his end of which Dalton was no longer holding up. As if all events in Jasper, in every home and every place of business, must be run past Brad Wesley.

In that sense, this really isn’t working out, as Brad Wesley will learn to his sorrow, but not before sorrow is meted out in kind.

The Boiled Leather Audio Hour #93: A Song of Ice, Fire, and Water

I’m back on BLAH this week with a look at the role and symbolism of water in A Song of Ice and Fire—including water-based magic, houses that derive their strength and identity from water, the use of bodies of water by characters in the story, and more!

Programming note: STC on the Radio

This morning I appeared live of SiriusXM Volume‘s Feedback to talk about the Do’s and Don’ts of Needle-drops with hosts Lori Majewski and Jim Shearer. If I find a way to listen to it online I’ll let you know!

“Succession” thoughts, Season Two, Episode Six: “Argestes”

As satire, this is pretty thin gruel. Succession has precisely one target audience: The kind of people who know enough about what Aspen and Davos are to want to make fun of them, but who are never going to be at any risk of actually attending them. Perhaps you’ve seen these people all the way up and down your Twitter feed. Perhaps you are one of these people! If so, pat yourself on the back, because someone finally invited you to see how the other half lives. God, look at these assholes, amirite? Pass the vape pen.

I reviewed this week’s episode of Succession, which was actually better than most despite my continued reservations about its overall quality, for Decider.

“The Affair” thoughts, Season 5, Episode 4

“I don’t want to be looked at anymore,” Whitney Solloway says. “I want to be the one that does the looking.”

“That is where the power lies,” agrees the wealthy gallery owner to whom she is speaking. Soon she will tell him all her dreams — owning her own gallery, where she can foster new artists whose work shows her things she’s never seen before. Soon after that, she’ll be making love to her abusive ex-boyfriend while the owner looks on and masturbates. The quid pro quo is explicit, in every sense.

But Whitney’s initial exchange with her would-be benefactor speaks to more than their arrangement. What is “The Affair” if not a five-season-long exploration of the power of looking? Noah and Helen Solloway; their departed counterparts, Cole and Allison Lockhart; Cole and Allison’s daughter, Joanie; the odd boyfriend or girlfriend; and now, at long last, Noah and Hellen’s daughter Whitney: Whatever humiliations and calamities befall them, they have been given the ability, in turns, to make us see it all through their eyes. That is power. And on this week’s episode, “The Affair” wields that power beautifully and provocatively.

I reviewed this week’s episode of The Affair, which finally gave us a Whitney segment, for the New York Times.

259. The Suit

At this late stage of the film, in this Time to Not Be Nice, great extras and background actors are largely a thing of the past. Wasn’t that Dalton’s entire raison d’être—to expunge the 40-year-old adolescents, felons, power drinkers, and trustees of modern chemistry—the Shirtless Man, the Foxworthy, the Mr. Clean, the Well-Endowed Wife? Other than their shared penchant for ostentatious hats the patrons of the new Double Deuce are a nondescript sort.

So it’s truly something special that the Suit stands out. That’s him getting shoved out of the way by Jack when the fire at Red’s break out, reacting with a stunned fervor usually reserved for members of the high school drama club who don’t get a speaking role but are pretty distracting in crowd scenes. That’s him again—sans jacket, now in a different color shirt and a vest—hooting and hollering at Denise’s dance like a man who’s never seen tits before, or at the very least has spent a long time in some sort of monastic community not of his own free will. And that’s him a third time, baying for blood as Jimmy whips the shit out of all comers.

A distinctive look. A face that’s expressive to the point of overdoing it, like a commedia dell’arte mask. The bald, browed pate of an angry Ugnaught. A three-piece suit at the white blues bar. The Suit, most extra of extras and last of a dying breed, has it all.

258. “YOU!”

Jimmy Reno wants Wade Garrett. (Yes, his last name is Reno, as mentioned by Patrick Swayze in interview clips and as listed all over actor Marshall Teague’s CV. Yes, this could mean he is an illegitimate child of Brad Wesley born in Nevada, and Reno is his bastard name. No, I will not be taking further questions at this time.) Boy, does he ever. Enough to pole vault over Jack’s prone body onto the stage, just to be better seen and heard by his quarry. Once Wade responds, Jimmy jumps right back down again. He wanted to make a show of this. He wanted to ensure that Wade Garrett could not back out of this confrontation without losing face. He wanted the entire Double Deuce to watch him prepare to end a legend.

And Wade Garrett knows it, that’s the real asskicker. He and Dalton are off their game tonight, perhaps because of the traumatic destruction of a nearby business that’s still burning as this fight takes place, in front of the man who ordered the arson. The whole Double Deuce team is off its game, perhaps, otherwise the numbers would have worked in Jack and Hank and Younger’s favor. Instead, they’ve been laid out all over the dance floor while Wade and Dalton tussle with lesser goons we’ve never seen before nor will ever see again.

(Yes, one of them is wearing a large black hat. Yes, so is a woman visible in the background. Yes, I continue to be perplexed by the presence of all those hats. Again, I will not be taking further questions at this time.)

This is the moment Jimmy chooses to call out Wade Garrett. He vaults onto the stage. He turns. He points with the force of a kung fu strike. He bellows a single word, a single syllable: “YOU!” And Wade Garrett knows the time to be tested has come.

257. Ernie inaction -> Ernie in action

You’re not supposed to see Keith David throw a punch in Road House. His part was all but excised from the film due to running-time concerns. His sole line of dialogue is to warn Tilghman that the whiskey’s running low. He’s one of the great action stars of the ’80s and the most action you see from him is handing Dalton a phone.

But soft! What light from yonder barroom breaks? While Dalton is polishing off one of the many cut-rate Brad Wesley goons—about whom more later—who infiltrated the Double Deuce during Red Webster’s fire alongside the usual suspects, there in the background, his fists obscured by a pillar, is one Ernie Bass, bartender-warrior, throwing hands with some dimp with a mustache and a dress shirt with no tie. Not the most formidable opponent, perhaps, not even in a world that contains O’Connor. But who knows what chaos the butterfly effect could have caused had the character played by Keith David not stepped into that particular breach?

And what about O’Connor and Tinker and Ketcham and Morgan, the traditional goons who accompanied Brad Wesley to the bar on this fateful night? Jack, Hank, and Younger don’t take care of them; they’re all too busy getting smacked in the skull with a pool cue by Jimmy. Wade Garrett doesn’t take care of them; he fights lesser goons until he’s summoned to a one-on-one bout with Jimmy in which he is badly outclassed. (It breaks your heart to see, truly it does.) Dalton doesn’t take care of them; he too is to busy fighting goonlets to do so, and then he intervenes in the Jimmy/Wade fight just before Brad Wesley calls the whole thing off.

There’s every reason to believe that while our attention is elsewhere—as indeed it is even in the few frames where Ernie is visibly fighting, our eyes drawn to the foreground action involving Dalton and a chibi-goon—Ernie wrecks shop, clearing out Wesley’s Slab Four all on his own. Keith David vs. Terry Funk…ah, what might have been. Our imaginations must fill the gap.

256. The Childlike Jimmy

When Jimmy finally enters the fray, after three quarters of the film have elapsed, he does so wielding a pool cue. In this he is living the dream of every child who ever grabbed a hockey stick or whiffle ball bat or cardboard wrapping-paper tube and fancied themself a swordfighter, a Jedi, a Robin Hood, a Zorro, a Knight of the Round Table. He’s playing a game with violence.

Of all Brad Wesley’s “boys,” to use his preferred term, Jimmy is his clear favorite. It has been the position of this series that this stands to reason, because Jimmy is Brad Wesley’s bastard son. Once estranged, they are now thick as thieves. The older man, I suspect, yearns less to make up for lost time than to, in his words, “gather unto me what is mine.” A Brad Wesley who discovers his by-blow is a Brad Wesley who instantly dedicates himself to Brad Wesleyifing that product of his loins—who will see himself in all his offspring’s most valued qualities.

But by the same token, Jimmy would look to be the son Brad Wesley never knew he had. That means obedience. That means mimicry—the same sly smile, the same eyes sparkling with malignant good cheer. And that means, on some level, behaving as a child would behave. Yes, Jimmy is about to cut through Dalton’s men like knife cutting through cake. But he’ll do so with a toy in his hand.

254. “If you’re gonna have a pet, keep it on a leash”

If you’ve read all 253 Pain Don’t Hurt entries to date you’ll agree I’m no fan of Dalton’s response to Denise’s striptease. His condescension, if not outright cruelty, to a sex worker and abuse survivor is unconscionable given his philosophical mandate to be nice until it’s time to not be nice. Is this, is the removal of Denise from the stage and the presentation of Denise to her abuser, really such a time?

All I can say in Dalton’s defense is that this is a rare case of seeing the forest but neglecting the trees. The destruction of Red Webster’s Auto Parts marks a major escalation of hostilities in the war between Dalton and Brad Wesley. That would make this time to not be nice, barring any further considerations; Dalton fails to realize that Denise and her plight are such further considerations. Moreover, the aforementioned war has been waged entirely, on Wesley’s side, by third parties, namely his goons. Dalton correctly locates Denise’s dance in the context of Wesleyan aggression, however weird that aggression might be in this case; he treats her as he might treat a goon, albeit one against which he does not want to raise his hand, missing the obvious distinctions between Denise and the Tinkers and O’Connors of the world.

It should be noted here that at one point Dalton cracks a wry smile at Denise when she’s beaming at him from the stage, but while that smile might be seen to indicate warmth towards her, it’s not at all dissimilar from the grins he occasionally flashes at the likes of Ketcham or Pat McGurn when they start to get up in his business. To Dalton, a goon is a goon is a goon.

But if he is guilty of making this categorical error, he is by no means alone. “If you’re gonna have a pet,” he tells Wesley while gripping Denise roughly by the arm, “keep it on a leash.”

Denise yanks her arm away.

“You’re right,” Wesley says, conceding the point.

Then—as if summoning a pet—he calls this man’s name.

 

253. Hats Off Revisited

The patrons of the Double Deuce love their hats, yes they do. But perhaps no one loves their hat quite so much as the mustachioed gentlemen in the striped short-sleeved shirt visible on the right, as it transitions from headwear to a stylish blouse in the hands of Denise. To her I can only say kudos for this innovative application of Road House‘s most ostentatious and inexplicable fashion accessory.

The interesting thing here, though, is that this is not one of the black hats visible earlier in the film, but a white one. White hats are the symbol of moral rectitude in the Western, the genre to which Road House is most directly indebted. Here, Denise toys with the white hat before dispensing with it altogether. It’s her way of thumbing her nose at the good guys and their rules and their holier-than-thou attitudes. It does the heart good to see her thus empowered. Given Dalton’s behavior a few seconds from now, she deserves this all too brief allowance.