Cremains Of The Day

This time last week I was putting another relative in the ground.

It’s a regular occasion with big families, but this one came after a long barren stretch. Family fatalities get scarce once the oldest generation thins out. We probably have a few years to go before my cousins and I all start dropping off, so these days the Simmons clan has been in a bit of a funeral lull. After a while, I can’t help but miss those Urgel Bourgie reunions when everybody gets together for the first time in ages. Well, everybody with one notable exception – whoever’s turn it is to fill the box.

Once again it was time to dress formal and make the trek up the hill to the Mount Royal Cemetery to file someone else among the endless rows of markers no one but the most dedicated headstone hunters bother to read anymore (incidentally, if you’re among these morbid enthusiasts, come and kill a couple afternoons searching for our city’s small collection of Titanic victims, or the final resting place of Anna Leonowens of The King and I fame – it’s fun for the whole family. Pack a picnic).

If you ever get a chance to go to a burial for ashes, I highly recommend the experience. Seeing the teeny-tiny grave is worth the price of admission alone. It sort of reminded me of my childhood visit to Montreal’s now-defunct midget museum where they kept all the teeny-tiny chairs and teeny-tiny cutlery and teeny-tiny toilets. It was all so cute. And, if a grave can indeed be cute, then gosh-darn-it this one was downright precious.

If you’re an environmentalist, you might want to consider cremation as the green option. Sure, you rob the worms of a decent meal, but you take up so much less space. Why, there’s now no fewer than five of my family buried under the same stone. They let you do that with ashes. It’s very cost effective, except for the expense of having a new name chiseled onto the end of the granite list. Each time someone kicks off they just turn up the soil, sprinkle them into the mix, and pat it all down again. It all looks like dirt anyway, so who knows what’s a bit of who? It also makes less work for the city developers when they inevitably bulldoze the cemetery’s prime real estate to make way for the next round of condo construction.

Yes, what was such a shocking revelation in Poltergeist is actually standard operating procedure. It happens all the time, and when they do it they can barely be bothered to remove the stones, let alone the bodies. Remember that the next time you’re strolling through Dorchester Square. You’re actually walking on the heads of those felled by Montreal’s last big cholera epidemic. Enjoy.

Me, I’ll skip the rites and rituals of a standard funeral service, thank you very much. I don’t need a little square of roped-off land, and I don’t want a marker that’s only going to get kicked over, removed, or washed clean by years of rain and wind. Just take me directly from the crematorium and sprinkle me somewhere nice. With a view.

Failing that, I should be in a convenient flushable form, so give me a burial at sea. You can even send me off by teeny-tiny toilet should one be available. Ask a midget.

Chicken Wings And Cock Rings

Easter has passed, and with it the sacrificial lamb trilogy, not to mention a more nefarious trilogy, all in the Movies in Longshot section.

Yesterday saw me back on the set to watch two of the latest Fries With That? episodes to come out of post production. Intrepid director, Giles Walker, was particularly pleased with how one of the shows I wrote turned out and wanted to screen it for the cast and some of the crew. I think part of the reason it works so well is that I was writing about a subject near and dear to my heart: nerds. Specifically, zombie nerds laying siege to a handful of terrified victims in their quest for crappy plastic movie merchandise. I have no idea when the public at large will be exposed to the results, but at the rate YTV is running the show, it shouldn’t be long.

Fries With That? is now airing four times a week, Monday to Thursday at 9:30 pm. It’s playing back-to-back with Radio Active reruns, making it YTV’s unofficial Giancarlo Caltabiano hour. He’s the highest profile link between the two shows, but they share many of the same producers, crew, and writers (myself included).

None of my Fries episodes have been broadcast yet, but I look forward to seeing what products all my hard work will help push on an unsuspecting public during the commercial breaks. Probably a combination of diapers and Barbie dolls, which I suppose is more demographically desirable than Depends and Viagra.

Involving yourself with any sort of advertising these days is morally dicey but pragmatically unavoidable. The ads are everywhere, and there are no depths they won’t sink to in order to fill your head with product names and slogans. If they could beam this shit directly into your brain and make it your every waking thought, they would. I should be grateful I’m only associated in a television capacity. It’s a time-honoured, traditional way to berate people into consuming more. The ads piggyback on TV shows and vice versa. I supply the sugar, they supply the pill to swallow.

These days I don’t know which is more humiliating – what corporate ad executives do to shill their product, or the act of actually sitting through their crass sales pitches. Seriously, have you seen this? We now have a burger giant distancing itself from beef and embracing chicken…and S&M. That’s right, chicken and S&M. How can you have one without the other? I know when I buy a chicken breast, I always look for the nipple clamp.

Sex is nothing new in advertising. Neither is degradation. But shouldn’t we still at least pretend our lust for goods and services is wholesome and positive? It’s good for the economy, right? That’s always been our story, we should stick to it. I don’t think I like this idea of admitting the sick symbiotic relationship between buyer and seller as we take turns being each other’s dog. Truth in advertising is a rare commodity, so why start bandying it about, forcing us to decide who the Tops and Bottoms are, when all anyone really wants out of the transaction is a fucking McNugget? Or whatever equivalent the competition in question offers.

There’s probably some important lesson for marketing majors to glean from this new campaign. Possibly something along the lines of “never agree to be a costumed spokesman for any product no matter how desperate you are for an acting gig.” Having no desire to perform in any acting capacity, in or out of costume, that particular lesson is lost on me. Instead, the only thing the folks down at the ridiculously acronymed “BK” have taught me is that contrived porno webcam shows have gone mainstream.

Yet I suppose, in this time of increased sexual enlightenment, we should all be up on our dominant/submissive jargon, especially when it’s coupled with bestiality. So remember kids: when you stuff a roasted bird, use plenty of lube and always have a “safe” word if you’re planning on using your whole fist.

For Your Consideration

With the Genie Awards fast approaching, now is the time for Academy members such as myself to get reams of material in the mail, soliciting my vote for my favourite Canadian movies of 2003 that I never actually saw. As you may have noted in my previous entry, I’m a tad cynical about the awards process.

In past years, I haven’t even returned my ballot, quite correctly figuring that I wasn’t qualified to offer an opinion if I hadn’t seen all the nominees. But then, why shouldn’t my vote count when I’ve probably seen way more of the films in question than most of the people who are voting? What an unfortunate conundrum to have to deal with. I can’t believe I pay annual dues for the privilege of being faced with such a moral dilemma.

This year however, I think I’ve struck upon a sure-fire system to determine who gets my vote. I want to make it perfectly, publicly clear right here and now: I’m open to bribery. “For your consideration” indeed. You want my consideration? Gimme swag! You want my vote? Fine. It’s for sale. Buy it.

Now, I’m not suggesting nominees start delivering envelopes stuffed with cash to my doorstep. Let’s be realistic here. A Genie win isn’t going to earn your movie any extra box office. As a Canadian film, your little piece of celluloid is doomed to financial ruin from the start. But the trophy looks kinda cool, doesn’t it? Want one? Then buy my vote. It can be purchased very inexpensively.

Since it’s such an incredible pain in the ass to screen all these great Canadian epics during the fleeting moments they’re actually in the theatres, I want screeners. Simple enough, isn’t it? American Academy members get all sorts of screener copies of their nominated films. So much so, it’s become a major piracy issue. But not so in Canada. You think we get copies of all the movies sent to our doorstep? No way! On average, I get maybe one copy of one movie sent to me by a particularly enterprising production company. That’s it. And that’s gotta change.

So I’m saying right here, right now, if you want me to vote for your movie, send out copies to the members. I will vote for any nominated Canadian movie that arrives on my doorstep in a timely fashion, regardless of the actual quality of the film. If I get copies of two movies nominated in the same category, I will give preferential treatment to ones on DVD as opposed to video. Should they both be on DVD… Well then, I guess I’ll just have to watch them and pick the one I genuinely think is better. But hopefully it won’t come to that.

Act now, the clock is ticking. There’s no clear frontrunner because so far I have yet to receive even that one token screener. You can earn extra points with pretty packaging, but save the full colour fliers, movie posters, and critic quotes. I won’t read any of that crap and neither will my recycling box.

And The Winners Aren’t…

I should mention that the Writers Guild Award finalists have been announced. You may remember that I was drafted as a first round judge to sort through the various nominees in the comedy/variety category. The resulting list of finalists is both utterly expected and jaw-droppingly shocking to me.

The Made in Canada episodes I voted for all made the final cut. No surprise there. It’s a fantastic show, and I know I’m not alone in loving it. But as for the other material, I can’t help but notice that the script I gave the single highest recommendation to did not earn a nomination. That means the other two anonymous first-round judges out there had to have given it a dismally low rating. I’d like to think this is just a simple difference of opinion, but I can guess at the real reason. They didn’t read the script.

Admittedly, when I saw this entry (which shall go nameless here) on the pile, my expectations were low. In fact, I saved it for last because I so dreaded having to even give it a fair shake. Well, it turned out to be the freshest one of the lot, brimming with quality material, and genuinely funny. It so clearly stood out from the rest of the entries, many of which were mediocre, a few of which were truly awful, that aside from giving it top marks, I also mentioned it again by name when I turned in my ratings.

The fact that this script ended up slipping through the cracks leads me to believe that the other judges made the same initial assumption I did – only they never gave it the benefit of a unbiased read.

But this is hardly scandalous. You may be utterly unsurprised to learn that this is how most awards are divvied out. Politics and perceptions decide who gets which trophy, not the actual merit of the piece in question. I’m going through the exact same scenario again right now.

Last week I received my ballot for the 24th Annual Genie Awards. There’s a number of movies I can vote for in a variety of categories. Have I seen them all? Of course not. Am I required to see them all before I vote? Again, of course not. Oh sure, they suggest you go see them before you vote, but do you think anyone actually does? These are Canadian movies after all. Good for you if you manage to catch them in that narrow one or two week window of opportunity when they play locally. But most Academy members won’t. We have the option of dragging our asses all the way down to the Academy offices to borrow tapes of the nominees, but who’s really going to bother to make that trip a dozen times when we’re only allowed a maximum of three at a time and they have to be returned the next day? Even Blockbuster will cut you a better deal than that.

So once again, the best in Canadian film this year will be determined by a bunch of industry professionals who haven’t seen jack shit. Let me make a bold prediction right now and say The Barbarian Invasions will clean up. Not because it’s the best Canadian movie of the year – it may well be, but who the hell has seen enough of the other releases to know for sure – but because the American Academy already gave it an Oscar for best foreign language film. They made the call for us, so now we don’t even have to think about it.

And that’s great, really. It makes our job so much easier. Now we don’t have to mark our ballots while trying to decide between a bunch of movies we haven’t seen and probably haven’t even heard of. We have a ready-made favourite. But God help us when it comes to picking anything in a category The Barbarian Invasions hasn’t been nominated in. Then we’re screwed.

Remake, Redux, Reimagining, Regurgitation

The spring thaw brings us streets littered with all the crap people dropped in the snow over the long winter months. Adding to the filth in the gutter is the first wave of Hollywood summer releases, coming out one full season early. People were amazed when the studios first pushed their lowbrow blockbuster season back to the start of May. These days the wannabe hits are trickling out by mid-March. They’ll be in full swing come April.

An early launch of “tent pole” summer flicks means an early end to the season. We’ll be down to the dregs come July, and August should be a complete wash. By then, La-La-Land will be too busy promoting their Oscar-bait fall season. I think this is another byproduct of global warming. The weather isn’t seasonable anymore, so neither are the movies.

If you’ve been out to the cinema lately, you’ll know the operative word is “remake.” Everywhere you look, there’s a remake of something. Remakes of good movies, remakes of bad TV shows. Only a few of the movies I’ve checked out over the last few weeks haven’t been remakes. They were merely rip-offs.

Tear yourself away from the running zombies and the funny retoolings of bad 70’s cop shows that were laughable in the first place, and take another look at the classics and not-so-classics from years past. And keep your eye on the Movies in Longshot section, because soon you’ll be getting a rare exclusive sneak preview of a much-anticipated sequel that won’t even be released for another year. Where did I get this exciting inside report, you ask? Why, the exact same place Harry Knowles gets his reports. I pulled it out of my ass. Trust me, it will be every bit as accurate and reliable as the lies and disinformation that’s been bandied about on Ain’t-It-Cool-News lately.

You know, I don’t want to go out on an editorial limb here, but it’s getting so you can’t believe any of the rumours or hearsay on the web these days. Lucky thing I only care about movie news. If I wanted to get the real world news, I might have to resort to watching CNN. And getting the truth out of them is like trying to hit a fact by chucking a dart into the Grand Canyon.

Bright Lights, Big Soundstage

In a rare work-related outing that got my ass out of the house, I spent an hour this Saturday afternoon touring the new studio digs for Fries With That? Production for the second season begins today, with two episodes being shot each week from now until June. It’s the sort of grueling schedule that makes me glad I’m not an actor, but rather a writer with an entirely different grueling schedule all my own. The first season of the show was shot at Moliflex, down along the Lachine Canal, which used to be a convenient half-hour walk from my home whenever I had the urge to visit the set and see who they cast for which guest role, or how some elaborate prop I made them build for one of my episodes turned out. This time around we’ve moved to the less convenient but much larger Mel’s, which sounds more like a greasy spoon diner than the enormous production facility it is. The increased size of the soundstage the show is shooting on has allowed for several new sets, expanding the dimension of the featured fast food restaurant to include bathrooms, a hallway, and a dingy alleyway outside the rear service door. New locations mean new toys for the writers to play with in their scripts, thus my visit during the lighting check to scout out possibilities for current and future episodes.

I hadn’t been to Mel’s since I worked on Sci-Squad back in 1998, when I had gone to visit that set for the sole purpose of being in the crew photo. That was an interesting experience, because in Montreal you never know what might be shooting just a few feet away. It could be some tiny French Canadian sitcom no one west of Berri Street will ever hear of, or it may be some Hollywood blockbuster throwing around more money than every other production in the city combined. On that particular day, coming out of the control room, I nearly walked straight into Denzel Washington as he was returning from the set of The Bone Collector next door. Although I came within a foot of knocking heads with him, we both escaped injury. Which is a good thing, because I’m sure his phalanx of gigantic bodyguards would have pulled me apart limb by limb had I even touched him. I’d seen these guys when I first entered the building and had, quite naturally, assumed they were parolees from a maximum security prison who just happened to enjoy passing the time by loitering around Montreal film and television productions. I was probably right, but I had no idea they were being paid to do so.

I admit to being vaguely fascinated by what gets shot next door to each other, and especially by what gets shot on the same studio floor. One production wraps, and then something completely different moves in. It tickles me to know that Pulse, CFCF’s local news show that runs daily at noon, 6:00 and 11:30, broadcasts live from the exact same space we used to shoot Radio Active. Yes, none other than Bill Haugland and Mutsumi Takahashi read the top headlines of the day from precisely the spot where one of our actors mooned another during a take to see if he could get him to crack up. The victim of this prank kept a straight face and the take made the final cut, but it makes me wonder if Mutsumi ever flashes some skin at Bill to rattle him during some otherwise dry federal sponsorship scandal coverage. It would make great symmetry.

Now that the bodily functions of the characters on Fries With That? have been acknowledged with the arrival of the new bathroom set that can be quickly redressed to pass for a men’s or women’s room (something I argued for as being highly cost-effective), the writers are all scrambling to have plenty of scenes take place in and around our one cubicle. The challenge will be writing bathroom humour that doesn’t involve anything that traditionally goes on in a bathroom, lest we incur the wrath of our wholesome broadcaster. Personally, I’m more interested in the revamped drive-through window. The technical issues concerning the impractical camera angle have been solved and greatly improved. Now, if need be, we can even drive a real car past the window to encourage some authenticity and perhaps a carbon monoxide asphyxiation or two amongst the crew.

Advance word is that Fries With That? will debut on Sunday, April 4 at 6:30 pm. It will play in that time slot for two weeks before moving to a four-day-a-week schedule, Monday to Thursday, paired with reruns of Radio Active. The first piece of promotion has just appeared on YTV’s website.

This week’s Movies in Longshot features a murdered screenwriter trilogy that is near and dear to my heart because, like all screenwriters, I know we got it comin’.

Eating Jim Crow

That’ll teach me to advertise my website.

No sooner do I email a link to my friend, Jeff, than he’s posting comments pointing out my egregious (some might say legally actionable) errors that I made, all in the name of an innocent, wholesome, cheap shot at an otherwise perfectly upstanding celebrity. It seems he’s quite right. Despite all the mud-slinging to the contrary, media testimonies by the ill-informed, and content within the film itself that seemed to indicate otherwise, Renée Zellweger’s character in Cold Mountain was never supposed to be black. I, quite naturally, never bothered to confirm this fact one way or the other because, after all, that would require a modicum of work and the sacrifice of a couple of underhanded japes.

What’s next? Am I going to sit through The Passion of the Christ only to find out it’s not anti-Semitic? That’ll be a bummer.

This stubborn controversy, which has relentlessly dogged eyestrainproductions.com for as much as two hours now, only serves to stir up many other issues. More important issues. Issues which will, hopefully, divert attention from my very public fuck up. Namely, what’s the world coming to when you can’t believe vicious, unfounded rumours? Just because people base their libel and innuendo on facts they’ve never read for themselves shouldn’t mean that I should have to do any research to back up my own libel and innuendo.

If there’s one thing that living through this particular juncture in history has taught me, it’s the vital importance of not checking your facts. Facts only lead to uncertainty, debate, and balanced judgments, and we can’t have that. Too many facts, and before you know it you’re likely to lose all sorts of support for your unfounded war, your paranoid witch hunt, or your racist persecution of a visible minority. And then where would we be? Back in the jungle my friends, back in the jungle.

The upshot of all this is that ultimately, no, Renée Zellweger did not win an Oscar for shamelessly overacting a character that was supposed to be black, she won an Oscar for shamelessly overacting a character that was just as daisy white as her.

But…but…that still doesn’t make her British, okay?

You Can Come Out Now, It’s Over

It’s been a full day since the little gold statuettes were handed out and I’m growing more bored of the 76th Annual Academy Awards by the minute. In what was probably the most predictable Oscar ceremony in history, everybody got what was coming to them whether they deserved it or not. Category favourite after category favourite walked away with a win, to the slight dismay of Vegas bookies who were offering as much as 1.2 to 1 odds for high rollers who dared put money on the dodgiest toss-ups. Yes, that Sean Penn/Bill Murray split vote was the stuff of… Oh screw it, everyone saw that one coming, too. Even Billy Crystal had his, “Aw Bill, we all love you” comment waiting in the wings. For industry outsiders, that translates as, “Sorry, Bill, but I had to vote for Penn because I couldn’t bear the thought of an SNL alumni who wasn’t me winning an Oscar. I feel sort of guilty about it. Really. Don’t hate me. Let’s do lunch. I’ll buy.”

Everyone managed to be deathly dull, without a single hint of petty nastiness throughout. The political rhetoric was token at best, and even the look of dismayed contempt on Oprah’s face when Renée Zellweger won was washed away by the look of artificial graciousness at the post-Oscar party when she gave Renée a hug and plenty of insincere congratulations for her daring white-face performance in Cold Mountain. I bet even the SWAT team snipers outside the theatre were wearing big phony smiles for the cameras that were never trained on them.

But I was touched, really I was, when Sofia Coppola acknowledged the years of experience, wisdom and nepotism her father had given her, and thanked her whole family for encouraging her to continue when she was stuck on page twelve of the Lost in Translation screenplay. Continue she did, all the way to page fifteen and Oscar glory. There was a lump in my throat when she listed off the great directors who had had an influence on her work, bravely limiting her picks to the most pretentious choices imaginable with the deftness of a first-year film-studies student. Ah, Sofia, your permanent sneer lit up the entire room that night.

Pst! I'll give you a hint. It's this guy over here.The big news for Canada was Denys Arcand’s long-awaited foreign language win for The Barbarian Invasions. It was heart warming to see that after three nominations in the same category over the course of seventeen years, the Oscar folks still couldn’t train their cameras on the right person when his name was finally read. Arcand may be a proud Quebecer, but he also proved himself to be a true Canadian by managing to be polite, modest and invisible all at once. It may have been his award, but that never stopped him from letting someone else be shown marching to the podium, and some other person giving the acceptance speech. I thought it might come to blows when one of his producers tried to get him to say something, anything, before they were played off the stage. In the end, she managed to tackle Denys and stick the microphone in his face long enough for him to lie about being out of time. Way to go, Denys, you spotlight hog!

Far be it from me to offer even more insipid Oscar coverage, though. We’ll be hearing about who-wore-who from all the major networks for weeks to come, or at least until we’ve forgotten who’s losing which war on what abstract concept. Now that it’s all over and I’m suddenly barred from using my Canadian Academy card to see any movies more interesting than the latest local yokel releases, I can relax for a bit. A very short bit. Then it’s back to work to fulfill my latest contractual obligations to Fries With That? which, I’m told, will finally premiere on YTV a month from now. Watch this space for times and air dates when we get closer to the big event.

Skip The Banter And Open The Damn Envelope

My Academy card is smoking after the last few weeks of screening every single Oscar-bait movie that’s still playing in local theatres. The slim pickings for worthwhile fare among the supposed top movies of the year just goes to show what a dismal year 2003 was for cinema in general. Some of the nominated “best” out there are anything but, and a few of the performances deemed worthy of a nod are so embarrassingly over the top they mark the absolute low point of careers that were hardly stellar to begin with. I’ll point you at Diane Keaton’s crying/writing montage in Something’s Gotta Give as an example of some screen time that should bar her from any awards show for life. Or you could just pop into the neighbouring cinema over at the multiplex and catch a few minutes of Cold Mountain to see Renée Zellweger playing the least convincing black woman since Halle Berry. Was there ever a time when they didn’t hand out Oscar nominations like beer tickets? Certainly you used to have to do more than flash your middle-aged tits (Diane Keaton, Kathy Bates last year), play yourself (Bill Murray), put on some eyeliner and do an impression of Keith Richards (Johnny Depp), direct an easily-solved whodunit (Clint Eastwood), or write a thirty-page treatment for something you’re just going to let your actors improvise anyway (Sofia Coppola).

Since the competition is so dismal, I can at least look forward to watching Peter Jackson fulfill my three-year-old prediction by going home with director and film for the third entry in his Rings trilogy. There’s no suspense to be had there. For a bit of intrigue I’ll have to amuse myself by waiting anxiously to see who made this year’s Oscar tribute to the fallen. The death list is always my favourite part of the show. It’s the last great popularity contest, when we’ll see who will get more applause (Katharine Hepburn or Bob Hope) and who will be deemed worthy of inclusion. Spalding Gray is missing and presumed dead. Will he get a mention? Leni Riefenstahl is dead and presumed burning in hell. Will she be acknowledged even posthumously? Place your bets now.

As you hope for some celebrity surprise nudity to make it past the network time delay, and await the announcement of best picture to cue you that it’s time to go to bed, remember that Oscar season for the 2005 awards has already begun. Yes, this week’s release of The Passion of the Mel means the race is on for next year’s top spots, setting the pace for the competition that will be dribbling out over the next ten months. We’re only in February, but we already have one movie that’s pretty much guaranteed some sort of nomination a year from now. It may have no bearing on Sunday’s show, but if this little opus of anti-Semitism seems like a sure contender, then maybe there’s hope for Leni to get her death list nod after all.

I’ll Have You Naked By The End Of This Blog

It’s day nine of America’s titty crisis, and the country remains on high alert. Award shows and other celebrity events are being guarded by SWAT team snipers and broadcast on a five-second delay in case another pop diva or publicity-hungry actress decides to whip out a breast in mixed company. Immigration has closed the border to anyone traveling from Brazil, France or other boob-friendly nations. Attorney General John Ashcroft was last seen cowering in a closet, asking his mommy to “make the bad brown nipple go away.”

Despite these precautions, I’m afraid the damage has already been done. There’s no denying that the festivities and seasonal cheer of Groundhog Day were dashed by the previous day’s Half Time atrocity. The financial market fallout threatens to throw America’s economy back off the rails just as it was recovering from the disastrous effects of George Bush’s election in 2000. And millions of decent, law-abiding, church-going, beer-soaked, injury-list-gambling Super Bowl fans will be forever scarred by their two-second exposure to Janet Jackson’s right-hand knocker.

I'm offended so you have to be too.Reaction in Canada has been typically muted, as it always is in these moments of international calamity. Once again, the silent neighbour to the north has refused to step up to the plate and take part in the panic mongering and histrionic overreaction like a good citizen of the world. Instead, Canada spent the entire morning of February 2nd doing little more than debating the merits of Jackson’s choice in nipple ring before returning its attention to self-centred local issues of the day like hockey, Belinda Stronach’s money, hockey, Paul Martin’s money, hockey, and of course, whether the Liberal and the New Conservative parties can settle their differences by playing a game of hockey. For money.

Oh sure, Canada may point to how their broadcasters offer unbridled cussing on prime time television, or how you can hardly flip past the French stations at any hour of the day without seeing a tit. But that sort of smut isn’t going to fly with the FCC, whose job it is to make sure the public airwaves are safe for parents and their children to gather together in front of their television and spend some wholesome quality time watching Paris Hilton suggestively milking a cow, Richard Hatch picking sand out of his optically blurred foreskin, and thousands of Iraqi civilians being bombed to mush in the name of a little White House fib. Yes, the FCC will save us all, because they’re our front line of defense in this war on basic human anatomy.

They know, as I do, that this world will never be safe for our children until the only breast they see is the one stuck in their mouth when it’s time to feed the baby. But we’re working on a way to optically blur that one as well.

While you weather the crisis, enjoy some damn dirty apes.