Mingle

In the midst of Montreal’s notorious Just for Laughs fest, I received an invitation to a barbeque shindig for industry insiders hosted by The Comedy Network at a downtown club. Okay, it was a hand-me-down invitation. My agent wasn’t interested in coming to Montreal for hamburgers and shop talk, so she sent me in her place.

I’ve been to this sort of professional social mixer in the past. They’re all pretty much the same, with only the quality of food and the variety of free booze switching things up between venues. They’re filled with people like me, sniffing around for work or leads on work, having conversations that live only as long as it takes the participants to realize they can do nothing for each other’s careers. Eyes wander throughout the pleasantries, hunting for the next viable person to talk to, always searching for a conversation upgrade. Then with a “I just have to say ‘hello’ to…” they split apart and vanish into the throng, never to acknowledge each other again.

This particular schmooze-a-thon offered up gift baskets for all those on the invite list. Not quite the gift baskets of Academy Awards lore. The “gift” part of the score was meager enough to draw attention to all that empty space in the “basket” part. So much so, I was tempted to round it out with pilfered selections from the social-lubricant Merlot table. Aside from the obligatory promotional t-shirt, the bounty included a Comedy Network nerf football and a rubber-chicken pen.

Comedy festival. Rubber chicken. Get it?

I was hoping to spot a celebrity or two at the event. Famous people like free food. They like free booze even more. This place had both. But despite the large number of familiar faces and notable names that come to town during Just for Laughs, the barbeque was brimming with unfamiliar faces and names I’ve never heard of. In fact, the collection of misfits put me in mind not so much of stand-up comics, but comic books. They all looked like the usual suspects you’d expect to see at a comic-book industry schmooze-a-thon. Only, you know, slightly more attractive and personable.

But then I saw someone genuinely famous had made an appearance after all. That’s right, none other than George Stroumboulopoulos. And yes, I did have to look up the spelling on his name to confirm that it is, in fact, G-E-O-R-G-E. I nearly didn’t recognize him. He was only wearing half the usual piercings.

Who the hell is George Stroumboulollapalooza? I guess you don’t watch much Newsworld. Hmm, how can I describe his career? Well, my American readers won’t remember him at all from his hosting duties on the microscopically short-lived TV talent show, The One –- infamous for being the most ill-advised move by a Canadian into the U.S. television milieu since Alan Thicke vowed to kick Johnny Carson’s ass with a talk show of his own.

That pretty much sums it up. I didn’t actually speak to him, but I was asked to get the hell out of the way by the hot chick who was on her way to speak to him. After such an intimate encounter, I feel like I’ve practically sport-fucked George.

The event went on for three hours. I only lasted one. Although there was little new information to be gleaned from the whole excursion, I did come away with one or two things of value. You can see just how valuable they are once I put them up for sale on eBay. Go make a bid. You know you want a Comedy Network nerf football of your very own. I’ll even have it signed by a real celebrity with a real rubber-chicken pen. Let’s see…how does it go? G-E-O-R…

Geek Culture

I’m in the loop. Now how do I get out?

A momentous occasion like the 30th anniversary of Star Wars couldn’t pass without me being inundated by news stories, press clipping and email links to all varieties of Star Wars weirdness. I guess it’s my fault for considering it my duty, in the pre-web access days, to make sure as many bootlegs of the god-fucking-awful Star Wars Holiday Special made it into the hands of fan boys across the city and beyond. Someone had to remind them that not all things Star Wars were necessarily good, or even watchable. But then the prequels came out and Lucas made that fact all too clear himself.

Well unlike the superfans out there, I felt no real desire to celebrate the anniversary by watching any or all of the series. I carefully avoided all talk or suggestions of getting together to revisit fond childhood memories, or initiate some Star Wars virgin who missed the boat back in the late seventies/early eighties (and spent the subsequent years wisely not giving a shit). However…

One web surfing link led me to something I’d only heard mentioned a few times in the last couple of decades. An obscure little movie called The Man Who Saves the World. More commonly, it’s referred to as The Turkish Star Wars, an oddity from 1982. At this time, Turkey was in political turmoil, and American movie distribution in the country dried up. To remedy this, and keep their populace amused, inventive Turkish filmmakers set out to make their own versions of Hollywood blockbusters, openly stealing special effects footage and music cues and cutting them into their incredibly cheap knock offs. This happened to a number of big-name movies, but never more infamously than in the case of the original Star Wars.

The Man Who Saves the WorldI only meant to watch a few minutes of it, but it quickly became obvious I had to sit through the whole thing. Just to be able to say I sat through the whole thing. I must have seen worse movies in my life, but no titles immediately leap to mind. To be sure, The Man Who Saves the World is an endurance test, but sometimes a hilariously rewarding one. I’d already had a beer before I started watching the flick. But when the line “Those coming ones are too sour faced. It’d be nice if some chicks with mini skirts were coming” was uttered during a galactic dog fight, I knew I had to get much much drunker to make it through all ninety minutes.

The fight scenes are awesomely awful, happen about once every five minutes, and go on forever. But hey, when was the last time you saw a couple of Turks springing around on trampolines to fight giant hairy muppets by karate-chopping their arms off and stabbing them with their own claws? I bet it’s been at least a week.

If you want to skip the plot (trust me, you want to skip the plot) and get right to the essence of the movie’s greatness, fast forward to the climactic battle in the last ten minutes. It’s like everything great and horrible in the whole film was recapped for your quick-fix viewing pleasure. Lots of evil muppets and crappy robots to kick and punch, all intercut with Star Wars effects footage for a dramatic denouement that makes absolutely no sense at all. By this time, in an effort to keep my buzz going, I was reduced to drinking siphoned windshield washer fluid fresh out of the car. So maybe that’s why I couldn’t really follow the ending. Yeah, that has to be it.

If you’re too much of a Star Wars traditionalist to sit through this shameless bastardization and copyright infringement of a classic, maybe Chad Vader: Day Shift Manager is more your speed. I know, I know. There are a million Star Wars parodies out there on the net. But none that do such a fine job of impersonating James Earl Jones. Plus it’s a better sitcom than most of what’s out there on real TV. I watched all eight episodes, which is eight episodes more than I ever watched of Friends.

Attack Of The China Girls

Of all the ironically self-aware movies destined to come out this year, it’s unlikely any of them will top the film geek experience of Grindhouse. What can be said for a film that’s so far up its own celluloid ass, that it runs pictures of random women over the end credits as an inside joke only the nerdiest of the movie nerds will get. Like me.

Despite high expectations, this double-feature concept movie failed to light up the box office. Talk of a franchise has evaporated fast, and a sequel seems unlikely now. The pleasure of watching other notable filmmakers take a tongue-in-cheek stab at trash exploitation has been denied me, and now I’m all sad. Sure, there are virtually endless pieces of reprehensible cinematic filth yet to discover. I’ve seen hundreds of them already, but could probably dig up thousands more without even looking very hard. Still, there was a certain unique fun in watching contemporary directors trying so hard to recreate the look and feel of those abused prints of warped movies. The mock trailers were a highlight, and Edgar Wright and Eli Roth in particular managed to hit the nail on the head. Hard.

It was with great delight that I heard some weeks later that Robert Rodriguez had held a competition for amateur directors to come up with their own grindhouse-style trailers. The competition, much like the film it was meant to promote, fizzled out with the disappointing ticket sales. But a winner and a number of finalists did manage to worm their way into cyberspace immortality where traffickers in this sort of thing will continue to upload and link to them for untold years to come.

It was some crazy kids from Nova Scotia who took the top honors for Hobo with a Shotgun. But there are plenty of others to enjoy if you look around for them. Runners up, Maiden of Death and The Dead Won’t Die illustrate that the key to making a good fake trailer is to convince the audience they want to see a movie that doesn’t even exist.

Well I was convinced, anyway. But then, I’ll sit through damn near anything.

Circumcision Is For Muggles

Once upon a time, before it was considered trendy for young starlets like Lindsay Lohan, Britney Spears and Paris Hilton to show off their Brazilian bikini waxes to limo-stalking paparazzi, celebrity nudity was scandalous. Whenever early-career rent-paying tits-n-ass photos of somebody famous surfaced, there was always an appropriate amount of shame and embarrassment involved. Now, it seems, there’s a collective “whatever” shrug from everyone, including the over-exposed celebs themselves who just don’t care how many billions of internet geeks are file sharing their crotch shots. The same even goes for their tawdry sex acts. Everybody who’s anybody has their very own sex tape now. And increasingly, they’re professionally produced and released on purpose. Chloe Sevigny, who infamously sucked off creepy director/actor Vincent Gallo in the name of pretentious art-house cinema, never seemed particularly concerned about how many millions watched her big scene out of context, compared to the three people who actually bothered to sit through the entirety of The Brown Bunny. Ms. Hilton, it turns out, didn’t object to everybody spending One Night in Paris once she got a big fat cheque for it. And, well, let’s spare Tom Sizemore the final indignity of being mocked here.

Now we have Daniel Radcliffe, Harry Potter himself, waving his wand at a horse in the stage play, Equus. Like the Christian fundamentalist wackos really needed something else about Harry Potter to bitch about. I’d show you a picture to better illustrate what I’m talking about -– particularly in the title of this blog –- but wee Danny Radcliffe is still only seventeen years old. A child. A baby. And I really don’t need the RCMP crawling up my ass for trafficking kiddie porn.

Of all these celebrities hell-bent on flashing their business, I’m most disappointed by Radcliffe. He’s British. And as a Brit, he should know the value of shame and embarrassment and personal mortification when it comes to anything sexual. Especially body parts best kept safely contained in one’s trousers. Well I, for one, plan to uphold that finest of old-world traditions even as today’s hot rich and famous youth lose their way. I am, and always shall be, deeply deeply ashamed of my body and will never show my wand, magic or otherwise, to anyone. Not even a horse. And of this shame, I am fiercely proud.

Aiding And Abetting

You are either with us, or you are with the cartoons.

After ten Puccas, five Ricky Sprockets, and two Yam Rolls, it looks like I’m not with us anymore. I’ve joined forces with the evil doers. Turns out it’s not terrorists or Neo Cons or Muslim fascist-extremists or born-again Christian fundamentalists that are the problem. It’s the cartoons. We should have known all along. Hell, I grew up on Scooby-Doo and that shit fucked me up for life. It indoctrinated me into a subversive political mindset, and now I find myself a worker-bee peon, churning out more animated subversion to twist the intellects of a new generation of television-watching sloth-children. I might as well be strapping a bomb to my chest and taking a walk into a Wal-Mart.

Witness what just happened in Boston. One cartoon character lights up and flips morning commuters the bird, and the whole city grinds to a halt. Such is the might of Aqua Teen Hunger Force. I shudder to think what could have gone down with a similar Adult Swim viral ad campaign for the Venture Bros. The entire state could have crumbled. And had it been a light-box advert for Robot Chicken placed in those tunnels and under those bridges? We’re talking about the complete dissolution of the United States of America.

Whimsical terrorismOkay, technically, Robot Chicken is stop motion, but you get my meaning. Any sort of frame-by-frame animated illusion-of-movement technique may well spell disaster for the rest of western civilization. We can only be grateful that the National Film Board of Canada’s experiments with sand animation hit a wall. Their foolhardy dabbling with grainy forces beyond our comprehension may well have ended days long before the current crop of Christian soldiers had a chance to declare, “No, THIS is the end of days. Right now. This time for sure. We swear.”

As a further testament to my complicity in the cartoon insurgency, my Pucca episode, Itsy Bitsy Enemy Within, is up for another award. This time it’s at SICAF 2007, the big animation festival in South Korea. Studio B cut a DVD of all my first season episodes for me, and now that I’ve finally seen it, I have to say this particular episode may be my favourite produced credit to date. It’s magnificently cruel, which is what all proper cartoons should be. But if you live in the Boston area, don’t expect it to air anytime soon. Some cartoons are so awesome, they may require the complete evacuation of the city just in case one of the characters reaches critical mass.

That’s A Wrap

2006 has mere hours left to live. You may have noticed I’ve been rushing these last few days to post all the news, updates, and dangling loose ends before the new year begins. We all like a fresh start from time to time, and I wanted to put any old business to rest so I wouldn’t have to think about it in 2007.

I’ve already written the final word on Paddywhacking. But in the interest of being utterly complete, I’ll sign off the year with a collection of leftover images from the project and my time in Dublin that never found a home in any previous blog entry.

All the trendier restaurants name themselves after deceased dictators. Can a Saddam’s be far off?

Some of the Paddywhacking gang and associates do what they do best. Drink wine.

I don’t want to know what he’s thinking about doing with that thumb.

My Irish nemesis. The most powerful hotel shower in the world. I still have bruises.

The Stag’s Head. I guess if your pub is old enough, you get to advertise on the pavement.

Pst. It’s this way.

It’s always interesting to drink in a pub that’s a century or two older than my home country.

Anna Merritt and I play dueling digital photography inside The Stag’s Head.

Dublin buildings are just cool looking.

Anna inside the homey Subotica offices. They’re set up in Neil Jordan‘s old flat.

Insomnia coffee and a peat fire announce it’s time to get to work.

We filled all too many white boards with this sort of story-structure gobbledygook.

The touristy shops started about ten feet away from the hotel.

A view of The Fitzwilliam hotel from St. Stephen’s Green. Whenever I’m in Dublin (and someone else is paying), I stay at the Fitz.

St. Stephen’s Green is full of trees that are very old.

And gnarled.

And textured.

See you in the new year.

An Irish Wake

The question I get asked most frequently (other than “What time is it?” “What would you like to order?” and “Were you born with that?”) is “What’s happening with the Irish thing?”

Paddywhacking. I’ve been calling it Paddywhacking because I’m a smartass and nobody likes the actual working title, The Irish Connection. You know it if you read the blog.

After my return from Ireland last winter, new drafts of episodes one and two were prepared while I waited around to see how they would play into my current drafts of three and four. We were hoping, with the next round of rewrites, to finally get all four hours of the miniseries into linear working order — one we could at last call a real first draft that contained all the characters and story elements and plot lines we wanted to run with. From there it would just be a simple matter of fine tuning the machine through subsequent drafts and then playing it all out in front of the cameras.

By the summer of 2005 I was asked to do some quick additional work on the first half of the story in preparation for my overhaul of the back half. Once that was turned in, we were, by my estimate at least, fourteen days of writing away from the holy grail we’d sought for so long. Roughly two hundred pages of screenplay that held water and all made sense as one huge story. And was maybe even entertaining to boot.

New contracts were drafted, additional fees raised. And then, just as two years of work were about to pay off…nothing.

There’s a term for this phenomenon. Development hell. It’s very common, but knowing that doesn’t cushion the blow much when it happens to you. In my case, this particular trip through Dante’s pre-production inferno came courtesy of shake-ups on the Canadian end of the project. Our broadcaster, the mighty CBC, chose this particular moment in time to play musical chairs with all the executive staff. New people were put in charge and old go projects were suddenly up for re-evaluation. Then the Canadian production company had their own staff switcheroo. The upshot was that some people left, some people stayed, some people were replaced, and some were not. And with all the rethinking going on, our entire project — probably just one of many in the mill that suffered the same fate — stalled. And it stayed stalled.

And then months went by. And then a year. And then something else happened. The final, symbolic nail in the coffin.

Among our various research outings — to Darndale, to the ice bridge, etc. — there had been a meal. This was a special meal, arranged through the grace of some convoluted mob ties. Over the course of a dinner, set to take place in a secluded and expensive Old Montreal restaurant, we were to sit down and pick the brain of a real live Irish gangster. His candid discussion of his line of work was meant to give us the necessary insight to flavour the miniseries script accordingly.

Mister X, as I shall unimaginatively refer to him, arrived after the rest of us were seated. He was dressed in a dark suit, with gold chains and slicked back hair. And he looked like a gangster. Or, at least, he looked like Ray Liotta playing a gangster in a Scorsese film. It’s hard to say if the movies reflect reality or vice versa sometimes.

Introductions were made all around. It was understood that Mister X could not discuss anything that might incriminate himself or the members of his family. This was a reasonable caution on his part, considering one of his brothers was already in jail awaiting trial for one count of murder and two counts of kidnapping. Or was it two murders and one kidnapping? I could never keep that straight. Anyway, we were assured by Mister X that his brother was innocent of all charges. Wink wink.

His anecdotes were often vague, filled with statements like, “Things were said,” “Things were done,” “Some things happened.” We were left to assume that none of these things were very pleasant for those on the receiving end. Although he tiptoed around the specifics, statements like, “The only thing that works better than violence is extreme violence,” didn’t leave a whole lot of ambiguity lying on the table next to the bread rolls.

Some of his stories weren’t always appropriate for dinner conversation, like one about an associate’s miraculous survival after a particularly bloody altercation. “And there were these fucking Cambodians cooking a dog in the bathtub, and they set the building on fire,” he told us, winding down to the punch line. “So the firemen come, and they find him lying there with the knife in his neck. And he’s still alive.”

The details of how the brothers X ran their money-making ventures were outlined for us as a simple business model. Someone looking to start, renovate, or forestall bankruptcy on a small business — say a restaurant or bar — would come to the brothers for a loan no bank would give them. If the brothers liked the look of this business and thought they might care to own it themselves, they coughed up the money. If the borrower was able to pay them back at a huge interest rate, fair enough. If he fell behind and couldn’t make good, the brothers would move in and take over the business.

“He meant ‘take over’ the business,” one producer told me later, pointing his finger and making a trigger-squeezing gesture.

“Yeah,” I replied, “I read between the lines.”

In this way, they ended up “owning” all sorts of joints, high class, low class, and everything in between, all over town. They weren’t the owners on any sort of legal document, but it was clear who was boss. If you don’t mind applying a bit of muscle now and then, this is how you expand, this is how you succeed. This is how you piss off the wrong people.

Fast forward to a few months ago. Our research soirée was becoming a distant memory when an innocent question was dropped during a conversation.

“Did you hear one of the X-brothers got shot?” This in an otherwise mundane discussion of recent local events.

I hadn’t heard a thing. “Really? Which one?”

Our one.

A trip to the recycling bin produced the relevant newspaper articles. The hit came in the middle of the night, outside Mister X’s suburban home. The photo showed a field of police evidence markers numbering all the spent shell casings littered throughout the scene. By all accounts is was a hail of gunfire that made the demise of Sonny Corleone seem like a gentle passing.

Again I read between the lines, this time from newspaper copy. I gleaned the reaction of various X-family members I’d heard about or met, and caught the usual hints reporters like to drop without stepping over nebulous legal boundaries. Cute phrases like, “known to police,” and “a settling of affairs” get sprinkled in just enough to paint a picture without making specific accusations that might invite lawsuits. Who ordered the hit and why remained obscure. A simple, unrevealing obituary ran a couple of days later under a picture of a familiar face. If any heads rolled in the aftermath, the media never connected the dots, and I haven’t heard a peep about the murder or the X family since.

That, for me, was the final demise of the whole Irish show. Many months had passed since the last bit of news about the project, and then this struck like a piece of punctuation at the end of a sentence. A bullet-hole period.

Is it possible the miniseries may rise from the dead and put everyone back to work sometime in the future? Anything can happen. Especially when two public broadcasters and two film companies pour that much time and money into developing a high profile international co-production. But I’m not holding my breath, and neither should you.

So the next time you run into me and want to ask about my work, there’s all sorts of cartoon news I can share. But please, let dead Irishmen lie.

Yet they were of a different kind,
The names that stilled your childish play,
They have gone about the world like wind,
But little time had they to pray
For whom the hangman’s rope was spun,
And what, God help us, could they save?
Romantic Ireland’s dead and gone,
It’s with O’Leary in the grave.

– William Butler Yeats

Darndale

The last time I went to Ireland to work on Paddywhacking, I said I wouldn’t write another blow-by-blow, day-by-day description of what went down. But I did say that I would offer up at least one interesting story about my travels. This one is overdue.

Darndale is the name of a district at the north end of Dublin. Had the series of low-rent apartments that compose much of the layout of the place been built in North America, someone would have dubbed them “the projects.” Over the course of several drafts, the setting of half of our television miniseries had been relocated from an Irish border town to the general Dublin area and Darndale specifically. In an effort to bring everyone (particularly the Canadian faction of the team) up to speed on what the Darndale experience was all about, a nighttime infiltration was planned. “Safari” would also be an appropriate term.

Co-writing the miniseries with me was Declan Croghan, London-based but Dublin-born. He arranged for us to be picked up by a trustworthy guide — one of his brothers as it turned out. The brother arrived in a four-wheel drive that looked like something the military might issue. It may have seemed a touch extreme for a simple city tour, but as we made the long dark trek north to the increasingly shitty end of town, a full-blown tank started to seem like a more desirable tour bus.

I’m sure it’s at least three hundred percent more charming by the light of day, but by night Darndale seemed like a vaguely apocalyptic urban jungle. A good place to get murdered if you dared look like you didn’t belong. The design of all the low-rent housing in the neighbourhood increased the overall peril of the place. It must have seemed like a good idea at the time, laid out on some architect’s blueprints, but in practice it was sheer folly. None of the apartment complexes had doors leading out to the street. Instead, the entrances all pointed inward to courtyards that were only accessible by foot. The blocks themselves were arranged in a jigsaw-puzzle pattern that was meant to be quaint, but served as an impenetrable maze of zigzagging streets. The end result was an entire district the police were too frightened to enter. If the architects of Darndale had set out to design a tiger trap for squad cars, they couldn’t have done better. Chasing suspects into this morass was a fool’s errand at best, and a life-endangering ambush at worst. To catch anyone in Darndale, officers would have to leave the safety of their cars for an inevitable foot chase through enclosed courtyards and dark corners. That is, if their cars ever even made it to the scene. We were told of the destruction of many police vehicles that had dared penetrate the neighbourhood. A few twists and turns through unfamiliar streets and they’d wind up on some dead end, pelted to pieces by the local juvenile offenders who blocked them in and stoned their cars to death with rocks and chunks of concrete. Officers were forced to abandon their rides and run for their lives, hoping to find some route out by foot.

Turning down one street enclosed by tall towers, we were reminded how much our own ride resembled a police vehicle. As our headlights lit up the pitch black nooks and alleyways of the twisting street, startled junkies fled in all directions. Only moments after we realized what a strung-out hornets nest we’d disturbed, the hornets themselves realized we weren’t any sort of authority they needed to worry about. They immediately started to reclaim their shooting gallery, closing in all around us in a loose meandering formation that had the distinct possibility of turning ugly and/or hostile. Taking no chances, Declan’s brother put the four-wheel drive to good use, gunning the car over the curb for a surprise bit of off-roading that narrowly squeezed us through a cement pillar divider between buildings and back onto the street a block over, safely out of junkie range.

Where people in Darndale bought the necessities of life (other than heroin) was not readily apparent. All the shops we saw were in ruins, like they’d be targeted by a bombing campaign meant to reduce them to rubble so the homeless would have someplace to squat. The only commercial outlet of any kind I saw was operated out the back of a large steel cargo container. I got close enough to take a picture, but not close enough to determine what was for sale. The rest of the party urged me to get back in the car quickly. Stopping was, evidently, a poor idea. And snapping photos was a quick way to get my arse kicked, most likely by the mysterious, unseen shop keeper himself.

Would you buy milk and eggs from this man?

Locally, transportation was in short supply. Owning any car nicer than a complete shitbox seemed pointless. If it wasn’t stolen outright, it was bound to be reduced to shitbox status overnight. As a result, delinquent children were left with slim joyride pickings. Ever inventive, however, they’d come up with a solution to that.

Horses.

Now, keep in mind, this was strictly an urban landscape. Any sort of countryside or farming was miles and miles away. The only green space at all was small patches of lawn around the apartment buildings. Everything else was paved. Nevertheless, horses roamed the neighbourhood freely, grazing where they could, and blocking whatever motorized transportation might happen along. These weren’t the elegant, muscular beasts of the field or racetrack you likely think of when the word “horse” comes up in conversation. These were shaggy, unkempt, wildebeest-looking animals –- the horse equivalent of a filthy homeless schizophrenic living in a cardboard box next to a dumpster. We were told that the local kids would buy cheap horses on auction for a few Euros they cobbled together, and then joyride them bareback around town. By the time the sun went down, they would grow weary of their bare-hoofed toys and would leave them to wander around for days or weeks until animal control picked them up and carted them off. The horses would be fed and tended to and then put up for auction, where the same kids would buy them all over again for another round of joyriding.

Free horse. Help yourself.

Grooming, shoes, and hay could go a long way.

Strictly for research purposes, we went on a pub crawl. Not the kind of pub crawl you go on when you want to get drunk. We needed to keep our wits about us. In fact, the first pub we were shown was deemed too dangerous to even enter.

“Oh, they put windows in,” Declan and his brother marveled when they saw the place for the first time in years. The toughest pub in Darndale used to be a concrete bunker with only one way in or out. Fights would start up inside, and woe be to anyone who didn’t want to participate. There was no escape except to be bludgeoned to unconsciousness quickly. If you were lucky, you wouldn’t be trampled to death in the ensuing melee. Times had changed, however, and now there were plenty of windows cut along the side to allow for all sorts of defenestration action whenever one mate refused to take back what he said about another mate’s mother.

New windows, same broken teeth.

Pub number two was rather more interesting. Declan’s brother had called ahead a couple of hours earlier for special permission to enter and bring some film industry friends who were sightseeing. It wasn’t that this was an exclusive club with an annual fee and a members-only jacket. By all indications, it was open to the public at large. But if you dared cross its threshold and they didn’t know who you were, you were in for a very unwelcome time indeed. This was a Sinn Fein pub, and its location alone insured there weren’t going to be any casual walk-ins from the street. Tucked behind a cemetery, a quarter mile down a long, deserted, tombstone-lined road, you had to make a serious commitment to even get there. And if they didn’t like the look of you once you got there, well…there was all sorts of real estate right next door that wouldn’t mind an extra body or two.

Inside we were greeted by our contact, the man who was going out on a limb to vouch for us. And he was the largest, scariest man I’ve ever seen in my life. He had a face that looked like it had stopped innumerable bare-knuckled punches without blinking. He had a belly on him that could have been employed to crush all the air out of you if he simply turned too quickly. And he had hands that were like shaking a pair of boxing gloves when he offered them to you in a friendly gesture that sent a paralytic chill down your spine. Put simply, he looked like he could and would pull your head off with his bare hands and peel it like a grape — just so he could drink a flagon of mead out of your skull.

Thankfully, we had brought Kryptonite with us. As menacing as he was, this goliath, obese, head-cracking, superman was like a mewling kitten in the face of our tour group. That’s because we had women with us. His one weakness. Around the female of the species (assuming he was, indeed, human) he was shy and awkward. It proves, I suppose, that no matter how much ass you kick, some of us are forever trapped in public school mode when it comes to mating rituals.

They say the only real Guinness is Dublin-brewed Guinness. Something to do with the local water, supposedly. Beer connoisseurs look down on the North American stuff as an inferior imitation. The joke is that you need genuine River Liffey water to brew a proper Guinness. At least I hope it’s a joke. I’ve seen the Liffey. Drinking it would be suicide. In fact, on my last day in Dublin, they pulled a body out of the Liffey. If drowning in the water hadn’t killed her, swallowing some of it would have done the deed just as quick. Personally, I can’t say I’ve noticed a hell of a lot of difference between Guinness on tap here and on tap over there. But for some reason, the Guinness at this Sinn Fein pub was superior to all. I thought it was just me, but I compared notes with the group later and the verdict was the same. I suspect an I.R.A. conspiracy that kept the good stuff for themselves and their own, and let the rest of Ireland drink the discards. I’d prove it to you if I could, but even if I could find this pub again, the welcome mat was only out for that brief moment of time in the winter of 2005.

The third and final pub on the tour was safely on the outskirts of Darndale, in a well-lit, welcoming place where regular civilians could drink and not be murdered for their shoes. There, Declan ran into one of this old associates he hadn’t seen in years. Declan is one of those guys who gets recognized wherever he goes in his old stomping grounds, even by people who haven’t seen him since he was a kid. He’s the quintessential Irishman. Not the Luck Charms variety of Irishman, but the manly Irish Spring variety. He looks like Lee Marvin and James Coburn had a love child, complete with the big picket-fence teeth and prematurely white hair. And, like all Irishmen in classic literature, he has a long history of death and rebirth, managing to get fucked up enough to have been read the last rites two or three times in his life. He’s a force of nature, indestructible.

But it’s still possible to take the piss out of him. Witness the aforementioned lost associate with the unique talent of finding where people’s buttons are and pushing them, just to see how irritating he can be without getting punched. Watching him go to work on Declan and seeing Declan’s resulting foul mood was highly entertaining. An interesting, consistently drunken character, this old pal had spent a long stretch in prison. There he learned a few new special skills. Like, for instance, how to have sex with other men. Now, paroled and free to come and go as he pleases, he maintains his acquired taste for the allure of man-ass. I know this because he took Declan aside to bug him to return the next day without his entourage. He wanted to meet up again, just him, Declan, and myself. It seems he took quite a fancy to my boyish charms and thought romance might be in the air. I can’t help but wonder what might have happened had he not just spent the last half hour tweaking Declan’s bollocks for a laugh. Declan might well have tossed me to him for old time’s sake. You never know. One minute you’re on a research trip, the next you’re in the public toilets trying to convince a hardened (and hard) ex-con and his shiv that you’re quite flattered by all the attention, but you really don’t swing that way. Thanks just the same.

Declan left, his brother right, my not-so-secret admirer centre. Wet pants courtesy my spilled Guinness.

The ride home was a thoughtful one. I’d seen a lot, and already the wheels were turning, deciding how some of this local colour could be worked into the scripts. The shaggy mongrel horses had to make a cameo, as did the police cruiser ambush technique and the pub behind the cemetery. So much of this material was gold for our project, it would breathe new life into the next draft. There was plenty of fresh hope and enthusiasm for our little four-hour tale of Irish mobsters in Montreal and Dublin, and all the intrigue and drama and violence and pitch black humour that was to go with it. The future seemed very bright.

Oh, how things change.

Fat American Children

Work continues on more episodes of both Ricky Sprocket and Pucca. Comparing and contrasting the two projects, it becomes clear how often the geographic location of the broadcasters has an effect on the content of the shows they run. Both offer plenty of notes at each stage of production, but there can be a distinct difference between American notes and British notes. Even when it comes to something as basic as food.

On the one hand we have Nickelodeon, a broadcaster so preoccupied with not being culpable in the fat assening of America’s youth, they’ve asked that any reference to unhealthy food be removed from scripts. In one instance, for example, they requested that characters visiting an ice-cream shop go to a juice bar instead. Since Americans seem hell bent of doubling their size every generation, all venues of children’s entertainment have become worried about a theoretical class action suit on the horizon that might focus blame on them for childhood obesity. It’s therefore become passé to suggest chocolate tastes good, popsicles are refreshing on a summer afternoon, or that toast really begs to be buttered.

Then we have Pucca being broadcast all over Europe and shilling for McDonalds at the same time. “Be full of energy just like me and run around for an hour a day,” Pucca tells us via word balloon on the back of her very own Happy Meal box. Forget for a moment that Pucca doesn’t actually have shit to say in her cartoons. I’m still trying to figure out if the message is burgers and fries give you energy to run around, or that you need to run around to burn off those burgers and fries. As long as no one is shown receiving a head butt or some similar culturally taboo injury, the Brits will stand by and let their cartoon characters endorse greasy gluttony. I suppose with all the mangled, crooked teeth English DNA has imposed on generations of kids, the parents are grateful if their children can successfully chew and swallow anything to keep them alive.

Rest assured, by the way, that I’m not one of those superior North American pricks who likes taking cheap shots at bad British teeth. Being the product of too much English DNA myself, I felt the genetic curse of dental deformity throughout my childhood. Only thousands of dollars of oral engineering and years of excruciating tooth-torture made my mouth presentable enough for me to leave the house without a sack over my head.

Not that I ever leave the house these days. I’m too busy writing cartoons – with or without officially sanctioned foodstuff contained therein.

The Circles I Walk In

It was a busy week for celebrity mishaps and mayhem. Britney Spears and George Bush both decided to unload their wiggers at practically the same moment. Jack Palance, villain of the movie I’m named after, died. Probably while performing one-armed push-ups. And Denise Richards nearly got busted for chucking a pair of paparazzi laptops off a third floor balcony and hitting two little old ladies.

As I watched the moment-by-moment coverage of the Denise Richards laptop assault scandal, something felt eerily similar. That place. I knew that place. It was the River Rock casino resort where I’d just attended and lost the Shatner awards!

Hey, I said to myself, flush with that orgasmic feeling of celebrity proximity, I was on that exact balcony. Only when I was standing in that spot, I was throwing two little old ladies off it onto a couple of laptop computers. I can’t say for sure if they were owned by paparazzi, but that would be crazy symmetry.

Usually I like to visit the scene of a notorious crime and picture the violence that happened there before someone came to clean up the mess and make it look all normal again. This is the first time I’ve been to a tawdry crime scene shortly before anything cool occurred.

Disaster has followed in my wake. And by disaster, I don’t just mean the ugly flying-technology scene with paparazzi sleaze merchants. I mean the entirety of Denise Richard’s and Pamela Anderson’s careers. Those two shooting a movie together in Vancouver may well be the cinematic equivalent of teaming up matter and anti-matter in a family-friendly buddy cop picture. Explosive! And not in the happy box office sort of way.