Tag: diablo cody

  • Letting Go Of The Hate

    I used to think hating Diablo Cody was only a regional pasttime. This is, after all, an area lousy with writers who have not written Writers Guild of America award-winning screenplays or gotten incredibly rich and famous or appeared on David Letterman. And sometimes, when the wind is blowing in the right direction, I swear you can hear about 500 of them grumbling: I wrote for City Pages once years ago. . . .and I could have been some skanky sex worker if I were willing to stoop that low. . . .and every single one of those screenplays sitting on my closet shelf is about a million times better than Juno.

    Of course no one says exactly this. They jeer at her nom de plume and make fun of the length of her skirts and talk about how Juno — a sweet, decent film in a year full of overblown, overdone losers — sucked anyway. If Cody wins an Oscar, I imagine the gnashing and retching will go on in our local writing community (and believe me, I use that phrase loosely) for years to come.

    Now, however, I come to find that the irrational antipathy for Cody has spread. In an article in Slate, writer Dana Stevens describes how what I previously thought of as a Minnesota phenomenon exists from coast to coast. People all over the world, apparently, hate D.C. and her movie (which, by the way, has grossed over $100 million, so some people must like it. . . ). And despite a mostly even-handed exposition of the whole controversy, Stevens herself even gets in a few digs.

    In a strangely similar turn of events, it seems Hillary Clinton hating is on an upswing as well. Now, the Bush-Cheney set has always hated Hillary. (Since the day she announced her candidacy, my father has called her "Billary" — which causes me to grind my teeth practically into dust each time we’re seated next to one another at Sunday dinner.) But here’s a new twist: now, just as with Cody, it is Clinton’s putative fellow thinkers who are spewing the most bile.

    In "Hate Springs Eternal," his column in the New York Times yesterday, political commentator Paul Krugman wrote, "I won’t try for fake evenhandedness here: most of the venom I see is coming from supporters of Mr. Obama, who want their hero or nobody."

    What’s going on here? We’ve got two immensely talented women — and I’m not going to make this a gender thing, because I truly don’t think it is — being reviled as sport. Why? Jesus, I don’t know. Pure envy in the first case, it seems. Zealous and cult-like political behavior [and let me say, I think this has little to do with Obama himself] in the other.

    Now, listen my children: You should know that hate — whatever its genesis — will curdle your blood and cause painful ingrown hairs. It leads to cancer and shingles and bad posture. And more important, it’s just bad juju for the rest of us, making this world an uglier place in which to live. So stop it!

    And why should you listen to me? Because, I’m going to lead by example. I, too, have allowed hatred to creep into my heart. But I’ve seen the light and banished the darkness from my soul. I. . . .are you ready for this?. . . .have returned to Trader Joe’s.

    Back in November, I wrote about their trademark wine, Three-Buck Chuck, in a post that began, "Have I mentioned how much I hate Trader Joe’s?" Well shame on me! I have been guilty of doing the devil’s work with my foul words. What’s more, I’ve actually, sort of, in a sense changed my mind.

    It all started one day last week when I got a craving for white cheddar popcorn. One of my guilty secrets — even back when my soul was sullied — was my love for the snacky popcorn products available only at Trader Joe’s. So at 3 in the afternoon, I drove over to get a bag. And while I was there, I stopped into the wine shop and picked up an $8 2006 Bordeaux from Chateau Michel de Vert.

    It had a nice label. And we’re working on saving money, my husband and I, particularly where wine is concerned. What the hell, I thought. And I trotted home with my white cheddar popcorn, which I ate immediately, and wine, which I uncorked around six o’clock.

    I was dismayed even as I poured. The wine had a thin purplish color I didn’t quite like. And it tasted. . . awful. A combination of fireplace ash and cough syrup. I took a swallow, gave my husband one. Then we stuck the cork back in and opened a bottle of the Portuguese wine I was raving about last week that we now buy by the case.

    I had planned to absorb the eight dollar loss and call it a lesson: Trader Joe’s is vile (unless you need a popcorn fix). But then, I recalled something vaguely. I’d heard a rumor, once, that TJ would take back any product for any reason. All you had to do was show up and demand your money back.

    I was skeptical even so. I called the manager to ask, Could I return a bottle of wine that wasn’t corked or heat-damaged or in any other way defective, simply because it wasn’t to my taste?

    "Absolutely!" he said. "Just look for me."

    And so I did. Yesterday afternoon, I grabbed that old, warm bottle, took it back without so much as a receipt, and the manager — no questions asked — handed me my money. So pleased was I, it seemed natural to pick up yet another ultra-cheap Bordeaux: Les Caves Joseph 2005, which sells for (you’re sitting down, right?) $5.99.

    Was it special? Er, no. But what do you expect for six bucks. It was a spot-on average table wine, sweet and decent (much like Juno!), with a cherry-ish flavor and a little bit of rough wood.

    So. Heed this story. I have seen the light, given up my hatred, and cleansed my spirit with a profoundly mediocre French wine. If I could, I’d buy a thousand bottles, get all the writers and rabid Obama supporters I know, and put them all together in a room. I see a big, diverse Bachannalian event. An orgy of the liberal and literati. All cheaply lubricated, thanks to Trader Joe’s.

  • Yo Ivanhoe Goes to the Movies!

    Believe me, I fully recognize that a guy pretty much has to
    be a moron and a glutton for punishment to criticize Diablo Cody at this point.
    Either that or he has to be a very, very brave man, a man with the stones of
    Anton Chigurh.

    I’ll plead absolutely guilty on the first counts. As to the
    second, well, yes, ma’am, I do believe I’m your man there as well.

    Let me get some things out of the way before I move ahead
    with my ill-advised temerity (and I’m willing to acknowledge that I have no
    idea whether temerity is always, by its very nature, ill-advised, but I’m aware
    of the possibility).

    I know Diablo Cody is a very smart woman, and based on her
    work I would know this even if she hadn’t let slip in interviews that she has
    the stratospheric IQ of the average postal service Mensan. She’s a sharp, smart character, and almost all of her writing that I’ve seen has been very sharp, very
    smart, and frequently funny.

    The writing in Juno is often very sharp, very smart, and
    very funny. The problem is that it is not the way real people talk; it’s the
    way people talk on television sitcoms, and I guess I hold films to a slightly
    higher standard, at least films that get nominated for Academy Awards –films
    like Kramer Vs Kramer, Forrest Gump, Braveheart, and Titantic. I
    promise you that I wouldn’t have a single complaint if Juno were nominated
    for an Emmy, particularly if they had a category for the snappy Post-Modern
    After-School Special.

    I understand that the legend has it that Ms. Cody birthed
    the Juno screenplay in the restroom at some suburban Target, washing down fistfuls of
    truck stop speed with two-liter jugs of RC Cola or some such while hunched over a
    laptop balanced precariously on the diaper changing station. Fine, I’ll buy
    that if you really want to make a stink about it. I also believe, however, that
    she had some help from a handful of down-on-their-luck former Different
    Strokes
    and Family Ties writers (Don’t get me wrong: I am not saying
    that any of these people were in the women’s room with her). And I’m also pretty
    damn sure that somebody from The Simpsons or The Family Guy sprinkled a
    little fairy dust on the thing before she turned it over to Jason Reitman.

    I have other problems with the movie, yes, but I guess I also have
    a few problems with the mythology that I should get out of the way first. I don’t,
    for instance, believe that Diablo Cody was ever a stripper. I just don’t. I
    know she wrote a memoir about the "experience," but I also know that that
    doesn’t prove a damn thing. Wouldn’t you think if this story were true, we’d
    have been inundated with backbiting and lecherous accounts from former
    co-workers and the habitués of the establishments where she purportedly worked?
    Maybe I’m not paying proper attention –although I think I am, and I think it’s
    hard not to– but I haven’t heard a peep.

    I can’t blame her for coming up with a colorful back-story.
    We all love colorful back-stories. They make the strangers we obsess about all
    the more interesting, and they’re somehow even more interesting if they allow
    us to imagine the strangers we obsess about bare-assed naked and covered with
    tattoos. I’ll admit it: if I had a biography or a resume I certainly wouldn’t
    hesitate to pad the damn thing with all manner of outrageous fabrications. All
    the same, I don’t believe a word of this particular tall tale –don’t believe
    Cody was a stripper, don’t believe she was a coal miner, and don’t believe that
    she was the night janitor in a crematorium. I don’t even believe she’s from
    suburban Kentucky. I mean, seriously people, do you honestly believe there even
    is a suburban Kentucky?

    There isn’t, but if there were, I can pretty much guarantee
    you that sixteen-year-old suburban Kentucky girls wouldn’t be listening to
    Patti Smith or the Stooges or Mott the Fucking Hoople. And I hope to God they
    wouldn’t be listening to Kimya Dawson and the Moldy Peaches, either, because if
    so than the place as I imagine it just got a whole lot more hellish.

    My real problems with Juno, I suppose, can be boiled down
    to this: If it’s trying to be subversive it doesn’t work. And if it’s not trying to be subversive it doesn’t work either.

    There’s too much telling and not enough showing, too much
    lazy shorthand about virtually every character, and by the end I don’t feel
    like I really know or care about a single person in the entire movie (well,
    maybe I cared a little bit about the dad and step-mom, even if they didn’t seem
    remotely real to me). The stammering, dorky boyfriend –played by the same
    stammering dork who played the same stammering dorky character in Superbad— is, we are told, "cool." He’s in a band. He also, I presume, likes
    the same sort of impossibly hip music Juno likes. Yet all we see him do is run
    around in shorts and a sweatband. The poor, improbably fertile dork does
    nothing but run and run. Is this supposed to be a metaphor? And, yes, one
    canned moment of sweetness passes between Juno and the dork, but other than
    that the kid doesn’t much seem to understand the gravity of the situation, and
    we get absolutely nothing in the way of character development that would allow
    us to see him through Juno’s eyes. She just tells us that he’s the coolest guy
    she knows, and we pretty much have to take her word for it.

    I’d also love to know what’s up with Juno’s best friend. Who
    is this girl? Does she not seem like exactly the sort of vacuous nobody that
    someone like Juno would openly mock? At any rate, she’s ultimately nothing but
    what she seems, because we get exactly nothing about her to form anything but a
    surface impression.

    And does not Juno have a little sister in this film? Am I
    imagining that? And if I’m not imagining it, why does Juno have a little
    sister? Why is this kid in the movie? Get rid of her. Let some other movie
    adopt her. She serves no purpose.

    I’m pretty sure I could go on and on (just as I’m pretty
    sure that Diablo Cody –whoever she really is– is going to have a long, fine
    career and that her pending horror film will be exactly the sort of riot she’s
    most suited to write), but my ultimate problem with Juno was that in the end,
    in what felt like a terrible cop-out to me, the cute-as-a-button smartass turns
    her baby over to the one pathetic person in the entire film who is most ill-equipped
    to live in the world Cody’s characters inhabit.

    And as long as we’re on the subject of the Oscars,
    and since I know you come here expecting regular, sharp criticism of the
    current state of the cinema, I may as well offer some impressions of a couple
    of the other nominated films I paid eight dollars to see and did not much
    enjoy.

    I love Cormac McCarthy. I generally enjoy the Coen Brothers.
    And I wish like hell I hadn’t seen No Country For Old Men. It’s like McCarthy
    and the Coens teamed up to write an episode of the Andy Griffith Show for the
    End Times:

    Deputy rushes into the room,
    clearly agitated:
    Sheriff! A truckload of Mexicans turned up just outside
    of town and they’ve been shot all to blazes! You wanna drive out to take a
    look?

    Sheriff is sitting at a table in
    a diner, squinting at the newspaper and shaking his head incredulously.
    He hesitates, and doesn’t look up from the paper:
    No sir, I don’t believe I
    do.

    In No Country, just as in this country, the world is going
    to hell in a hurry. Evil, inexplicably represented by a man with a bad haircut
    and a pneumatic cattle zapper, is an unstoppable force. The poor, old,
    beleaguered Sheriff just can’t be bothered anymore to do anything but mope
    around and offer homespun philosophical ruminations. The crafty Vietnam vet who
    finds the satchel of cash comes up with all manner of crafty maneuvers to
    outfox his pursuers, yet never thinks to transfer all that money into a
    slightly less distinctive –not to mention cumbersome– carrying case. Woody Harrelson shows up and displays
    remarkable skills of clairvoyance in locating both the man on the run and the
    money, but then –just like that– he’s dead. Then –just like that– pretty much
    everybody else is dead as well, except for Evil, which still walks among us
    dragging his pneumatic cattle zapper, and the poor, old, beleaguered Sheriff,
    who right up to the bitter end offers homespun philosophical ruminations to anybody who’s still alive to listen.

    That’s about it. The whole thing looks awfully nice, though,
    I’ll give it that.

    Ratatouille also looks awfully
    nice, but it also sucks. I’m sorry, but I just think it’s a tall order
    to make the whole rats-in-the-kitchen thing palatable, particularly
    when we’re talking about obnoxious rats, and scads of them. I had a
    huge problem with the lazy, jackhammer way Brad Bird and his associates
    named their characters –the snobby food critic is named Anton Ego! Get it?
    There’s also a Gusteau, a Linguini, a Pompidou, a Django, and a
    Skinner. Could you maybe take more than five fucking minutes to name
    your characters before we hand you a Best Screenplay nomination? Is
    that really asking too much?

    And, finally, there’s the sheer ignorance of the main human
    character, Remy. Throughout the entire stinking film the guy has a rat on his
    head pulling his hair and putting him through all manner of contortions making
    the same damn dishes over and over, yet somehow, when the rat disappears, the
    moron doesn’t know how to recreate the recipes he’s made hundreds of times?
    What the hell?

    Somebody in Hollywood –and it might as well be Diablo
    Cody– better send me a check for $24, pronto. I’m for damn sure not going to
    drag my ass out to see Atonement until they do.

  • Objection to Juno Review


    Nasty, nasty, nasty. Rob Nelson’s review of Diablo Cody’s new movie Knocked Up [editor’s note: I believe the writer is referrring to Juno] really stinks. Would that we all would have a past that
    would bear scrutiny. His snide harping about Cody’s stripper past just
    goes to show that white male priviledge and the double sexual standard
    is alive and well. Maybe she is a pain in the ass-I don’t know, but it
    seems to me that this review had to much of the "I haven’t made it and
    you did" in it.

    C. Carlson, Minneapolis
    Letter