20 November 2003

You're Not Wrong. You're Certainly Not Wrong.


--Would like to thank the wonderful folks over at DanWho (those folks being...Dan) again for coming up with the Official GooseTown Logo (TM) above. Feel free to click on the picture to find out more about the man whose life I base every decision in my life on, Cousin Scott (WWSD?).

--After watching the whole Britney-Spears-Tours-Three-Clubs-In-One-Night thing on MTV, I now hate her. My official position is now that I would not be upset if she got hit by a bus. But, though I don't want to say it, don't want to say it at all, she has a fine, fine ass.

--From my buddy Trevor (Triznev to all of you):

>>PS: Item R, subsection ii, OC is the best show on TV, period. Last evening's episode was as good as any 90210 episode, and that my friend is a bold statement coming from my mouth. I want to nail both moms, and Summer so hard, wow. Hell and the girl from Pittsburgh.<<

Trev, I couldn't agree more. The O.C. is clearly the 90210 of this generation. The only thing that saddens me about the whole thing is that we're kind of in between generations. We were a bit too young to appreciate the finer beginnings of 90210, and by the time it was over, it had lost its flavor and Steve Sanders's hairline was fading faster than Tommy Maddox in the fourth quarter. Now we're like 24 and senior citizens and The O.C. is just starting. Clearly, it's aimed at a younger demographic, but I'm claiming it as my own. Why? Does anyone realize the "drama" that shall define my highschool/college experience was Dawson's Creek? No f*cking thank you. Plus, the chicks on The O.C. are, like, five times hotter and kewler than on 90210 or Dawson.

But I have some gripes: Why does Benjy McKenzie (Ryan) make those "I'm halfway between crying and taking a crap in my pants" faces? And why is he dating Marissa so soon? Couldn't they have strung us along a little? Why is Seth's mom so gosh darn hot? Couldn't they hold off on him scoring with both Summer and the Pittsburgh girl? They are rushing into the action far too quickly, but I'm holding out hope that the writers have some really soap opera-esque ways to keep me interested without getting too ridiculous.

Sidenote: Kelso on That 70's Show is going to be a daddy. BURN!

--OK, here's my thing about Ferris Bueller's Day Off:

There are some movies that you can watch all the time, there are some movies that are only good for one viewing. Most John Hughes films fall into the former category. Sixteen Candles, The Breakfast Club, even a little Planes, Trains, and Automobiles...all these movies you can watch over and over again and never get tired of them. But very few movie shave the capacity to change each time you watch it.

Ferris Bueller's Day Off is a transcendent film in this way. It's done so very well that it appeals to those that are 13, 16, 18, 25, even 30 years of age. Hell, my dad still loves it and he's going to be 57 next year.

The scene that always seems tweaked a bit, meaningful in a different way every time is the scene in the Museum. All the paintings, but especially the part of the montage that has Cameron looking at Seurat's "Sunday Afternoon on the Island of La Grande Jatte". This scene is specifically designed to be viewed as a major point in the movie for Cameron, but every time you watch it, it seems like something has changed, like Hughes used another angle, or an extended take, or something. You see something different in the Pointillistic brushstrokes, some verisimilitude between Cameron and the child's face.

This happens to a lot of people with a lot of movies. The thing is, the movie hasn't changed--you have. There is something different about you that brings out feelers for a particular scene. The thing about Ferris Bueller's Day Off is that it is able to regard its audience in the scope of personal transition. This is to be wholly appreciated, as only a very few films can claim this ability. I welcome the mention of any others.