Say something I’ve giving up on you


Some things.


I made this:

jedi meme

In light of the Seahawks’ absolute dismantling of poor Peyton Manning (and what I can only surmise to be the entire collective Coloradean consciousness), I figured post-game we all needed to bring a bit of levity to the situation.

Because, and I think we can also all agree here, that a slightly more entertaining game, and not just a blow-out of every tire on the Denver semi-truck heading to Nowheresville, would have made for a much more enjoyable three hours of football.

(And to all the glorious, gloating – totally deserved, and encouraged gloating – Seattle-ites –  yes, I too am including you in that sentiment.)

Just saying.

But seriously though, what is wrong with this man?

Why does he look like this?

(Also, WHO IS HE?)

And why doesn’t he know that, in the end, the light side always, ALWAYS wins?


This quote:

“A word is not the same with one writer as with another. One tears it from his guts. The other pulls it out of his overcoat pocket.” —Charles Peguy

I have been thinking about this a lot of late..

I came across this text in the wake of Philip Seymour Hoffman’s tragic death this past week.  Someone commented that, although he was not a writer, he was often reminded of Mr. Peguy’s word when confronted with Hoffman’s seamless, and yet soul-wracking transition from one character to the next.

And of this, I agree.

I cannot say that I have ever been disappointed by any of his myriad performances. Whether disgusting, or delightful, there was always an innate (and oh-so important) humanity to his characters; one that was never forgotten, nor manipulated, or abused.

But truly, for me, Hoffman will always and forever be The Big Lebowski’s Brandt, the most amazingly sycophantic suck-up to ever grace the silver screen. An absolute perfect foil to both the Dude’s lackadaisical, anti-hero, and Walter’s neo-conservative, Vietnam vet (and owner of Sobchak Securities.)

Just listen to this laugh:

I love this movie more than I can properly communicate, and although only a supporting role, Hoffman’s brilliant portrayal of the Big Lebowski’s assistant is the linchpin, of what I believe to be, the best movie I will most likely ever watch.

And I think that’s why I’m thinking about the quote – everything about the film feels as though it is the sum of months, and months of meticulous preparation, culminating in pitch-perfect performances by absolute masters of their crafts.

It is gut-wrenching in its simplicity, and perfection.

You truly can always tell when an individual, or individuals, put everything they have into their art. (I use the term “art” loosely, and define it as anything from dance, to sculpture, to ultramarathon running, to public company auditing.) It doesn’t matter the medium. Gut-wrenching transcends boundaries, or definitions.

It, as I believe as shown by the outpouring of grief over Mr. Hoffman’s death, transcends life.


For my part, I’ve been doing some light crying all evening long.

Not for any real purpose or another.

I watched this video a couple of hours ago, and all I’ve done in the interim is listen to incredibly sappy, emotionally destructive songs, and read about all the insane human rights abuses occurring at this precise moment, all around the world.

Sometimes I think the world is void of anything good.

There is no other way to describe the sensation of emptiness I feel when confronted by such ignorance and inequality.

I want to run away and hide and have Marc’s strong arms wrap around my weak little body and then we’ll just lie that way until our bones rust, and our smiles turn to stone.

This could, of course, never happen.

Because a.) I know how to turn off Youtube.

And b.) because I am, as some of you know, a proper LOVE WARRIOR and if nobody else is going to champion the betterment of this heaving cesspool of a planet, then I bloody well GET ON IT.

Plus my body is jacked.



I am writing a book.

This is exciting.



For my birthday I did this to my hair:


I have been wanting to do something blondy-blond for a while now, but haven’t been able to muster up the appropriate level of courage to commit to the follicle colourization process with gusto.

(AKA I am a giant wimp.)

But I figured I am only twenty-nine once – I might as well do it now before the aliens arrive and I spent the next sixty-odd years of my life making origami toilet paper swans for our six-legged, intergalactic overlords.

They’ll probably want me bald as a baldy thing.

(Egg? Cue Ball? Bruce Willis?)

Yippee Kai Yay.

Golden lads and girls all must, as chimney-sweepers, come to dust

Last night I watched Werner Herzog’s documentary Into the Abyss.

It is an amazing film, though disturbing. In fact, I went to bed feeling very strange.

Mr. Herzog’s films often leave me feeling profoundly unsettled – their subject matter, his style of direction, his narration, his score – all of these elements combine to create a film that rattles something very deep inside of me.

It’s like something has been jarred loose, and I cannot put it back in place.

And I’m nervous – because I’m not even sure from whence this piece of me came.

If you have ever seen any of his films, you will be familiar with one of his trademark styles – how he purposefully lets his shots linger, long past the point of comfort.

Instead of cutting away, the camera will remain focused on the person, or the scene, and as a viewer, it makes me squirm; I find myself willing for him to move on.

Indeed, the longer he stays with the shot, a feeling of perverse voyeurism begins, and takes root inside of me.

I feel as though I have no right to see these moments, these snapshots of humanity – raw, stripped, debased, terrifying, beautiful, maddening, heart breaking – scenes that in any other film might end up on the cutting room floor.

But it is also these moments that – no matter what my stage of discomfort – envelope me is a perverse majesty, luring me into the film.

In fact, they transform me – from disconnected bystander, to active participant.

No longer a passive observer, disconnected from the film, its subject, and its characters, I am forced to reconcile how  my judgments, my reactions, my questions fit into the movie’s narrative.

Where do I fit in this conversation?

Into the Abyss focuses on two inmates: one is on death-row awaiting execution in a Texas penitentiary; the other is serving a life sentence. One crime; two sentences.

The film explores, in a very subtle and yet incredibly powerful way, the question why people, and the state, kill.

Why do people die? Why do people live?

Who decides who dies and who lives? And why?

The film is structured is such a way that we absorb not just the heinous, senseless crime that these two men have committed (for which neither shows any remorse, nor do either of them admit guilt) but also the broader (and yet incredibly insular) world that contributed to the crimes.

A so-called “civilized” society that is unable to tame a chaotic nature driven to seed – one that is reflected in an endless cycle of broken homes, abuse, unemployment, casual street violence – a warped world where two eighteen year old boys would kill three people for a red camero.

Where two young men are convicted of the same crime, but only one is sentenced to death.

Both have killed, but only one is killed.

Although the question is never expressly asked in the film – indeed Herzog never reveals his overall thesis statement – you cannot stop asking yourself, why?

Again and again this question: why do some live, and others die?

Indeed, I find this query arresting.

And it keeps coming back, over, and over again – presented in different incarnations, addressed to different situations, but always the same: no matter what the reasoning behind it blind rage, capital punishment, war, pre-meditation, revenge – how do you kill someone?

Why do you kill someone?

This system, the institutions we have devised to support life – call it the state, call it society, call it government, call it the law, call it civilization – these are not infallible, impartial machines.

They, like human beings, are susceptible to bias.

Sometimes they are as equally chaotic as the world they are meant to discipline and punish.

They are flawed.

And like human beings, they kill.

And by the end of the film, after conversations with lawmen, a priest, the convicted killers, bereaved family members, and a former prison guard, we can look at this unthinkable crime – these three murders, and their inherent meaningless – and at the bottom of it all, we do not see redemption.

We do not see hope or forgiveness, renewal or compassion, regret or acceptance.

We see only time and emptiness.


There is life.

And there is death.

Two powerful forces – forces that exist with or without us.

Who lives and who dies?

This is something we must never decide.