Adam-Troy Castro

Writer of Science Fiction, Fantasy, Horror, and Stories About Yams.

 

Our President-Elect Really Has No Earthly Idea What a Boycott Is

Posted on November 20th, 2016 by Adam-Troy Castro
As President-Elect, Donald Trump is already demonstrating that he has absolutely no idea how to ignore or finesse a small embarrassment until it goes away, and giving those of us appalled by his election reason to hope for the results when, as happens to all Presidents, he suffers a major public relations crisis.
Now he’s urging his followers to boycott HAMILTON, thus giving further publicity to the show whose actors gave Mike Pence a firm talking to.
What is darkly amusing about this is that he appears to have absolutely no idea what a boycott is or how it works.
To successfully boycott something, you need to have a history of using it.
The Montgomery bus boycott, during which the black population of that city refused to ride segregated buses, was as effective as it was because black people had been using the buses before, and the system actually did depend on their financial support.  It wouldn’t have been successful if the boycott had only gained traction among folks who drove to work in their own cars.
The boycott of Barilla pasta, during which users of that food staple stopped buying it out of disgust for racial comments from representatives of the company, made its sales plummet. It wouldn’t have been successful if it only gained traction among folks who never ate gluten.
The boycott of the Dixie Chicks by radio stations that had previously been playing their music put very real pressure on the band. It wouldn’t have been successful if it had only gained traction on the weather channel.
On the other hand, if you never ever go to the movies and only see the ones you do see on free TV, then virtuous declarations that you’re boycotting Mel Gibson accomplish nothing but make you look stupid.
I’m a science fiction and horror writer who has often blogged about political subjects. From time to time some troll who misspells as many words as possible announces to me that he’s never heard of me anyway and that he will be boycotting my work. I examine this position statement, calculate the infinitesimal odds that this fellow ever would have picked up any of my books – especially when internal evidence documents that he likely picks up damn few and pays for even fewer – and, despite desperately needing more sales, lose not a moment’s sleep. He is not boycotting me. He is simply attaching an ideological tag to his prior total unfamiliarity with me.
And so we have HAMILTON, a raging hit stage musical sold out for years in advance, that you likely cannot get a seat for even if you walk up to the box office with a couple of thousand dollars to burn for the purpose, a show so successful that the merchandise store is a permanent installation in the theatre district.
Donald Trump thinks that he can terrify the folks behind it by urging his supporters to a boycott when HAMILTON could run for years and be the most successful musical in history if its entire ticket-selling lifetime captured just one tenth of a percent of the people who voted for Hillary.
It could be damn successful selling tickets only to those for voted for Gary Johnson.
And that’s not even the silly part.
His call to boycott HAMILTON assumes that his supporters nationwide are all about going to see Manhattan hip-hop musicals at four hundred dollars a pop.
They aren’t. The occasional Pence anomaly aside, many of them would sneer at the very idea – let alone the cost – of buying a ticket to a Broadway show, any Broadway show. That’s not a slam on them in particular. It happens to be true of most people. The majority of folks who live in Manhattan and surrounding boroughs have never bought a ticket to a Broadway show, ever.  It’s a rarefied pastime, both culturally and financially. Not to mention that almost all of America, and therefore most of the Trump electorate, is not in any geographical position to go. If you live in Montana, seeing HAMILTON is likely not in your weekend plans. It just isn’t.
Of those Trump voters who do make it to Manhattan from time to time and would buy a ticket to some Broadway show, most wouldn’t race to buy a ticket to this particular Broadway show. Can you imagine the folks you saw at those rallies wetting themselves at the idea of seeing early American history re-enacted with a racially diverse cast? That’s the Trump Demographic, all right!
But what’s going to happen is that they’re all going to receive his call for a boycott and sit right at home before the flickering light of their televisions and congratulate each other for boycotting HAMILTON, a show they wouldn’t have seen even if they had been transported to Manhattan, handed a pair of free tickets and a backstage pass, and offered a blow job by the world’s greatest practitioner of the art if they went. The self-congratulation for boycotting this musical is going to be loud even among those who don’t even buy tickets to movies at their local multiplex, at one-fiftieth the cost. Look at me, I’m making a major point!
It’s really like me, the guy who has despised Trump for years, thinking he’s personally making a major point by declaring that he’ll never buy a condo in a Trump building. Yeah. Like the opportunity will ever come up. What’s hurting his enterprises, still, is aversion to his businesses by people horrified by the prospect of him as President, who were contributing to his bottom line before. Not me. My “boycott” means nothing.
Look at me, I’m boycotting the Russian ballet.
Nobody putting on a Russian Ballet knows it, but give me a high five.
“I’m boycotting HAMILTON!”
Yeah, yeah. Good luck with that. Let me know how it works out.

What Trump is offering his followers, with this imbecilic charge, is the chance to feel unified against their continued lack of support of an enterprise they wouldn’t have supported in the first place.

DOUBLE INDEMNITY, Book Versus Movie

Posted on November 6th, 2016 by Adam-Troy Castro

Taking a necessary break from watching a movie I know practically by heart, Billy Wilder’s DOUBLE INDEMNITY. (Had stuff to do that needed to be done right away.)

And before I get back to it, this observation, complete with SPOILER WARNING for what I hope will be the very few of you who haven’t encountered book or movie.

This film is a poster child against the facile argument of people who don’t understand the mechanics of story-telling as much as they think they do, that movies departing from novelistic source material will always go wrong, or that “the book is always better than the movie.”

Well, in this case the book and movie are both masterpieces, but of different kinds.

The novel was written by James M. Cain, a grandmaster; the movie by Billy Wilder and Raymond Chandler, two other grandmasters.

Both are about an insurance man who conspires with a client’s wife to kill her husband by faking an accident, then collect the big payout.

The movie mostly adheres to the mechanics of the novel, but changes the ending.

It changes more that that, actually. James M. Cain was one of the best there ever was, and few novels have opened with a single sentence that tells you as much about the protagonist as the first sentence of THE POSTMAN ALWAYS RINGS TWICE, “They threw me off the hay truck around noon.” There’s a reason why his novels fueled multiple movies, but his greatness did not include dialogue; what he wrote was actually hard for living human beings to say, which is why it was such a good thing for Chandler to take a hack at it.

(MILDRED PIERCE has been filmed twice that I know of, and I’ve gotta tell you — the Joan Crawford version departs from the original even *more*. The Kate Winslet version, a five-hour miniseries, tells the *whole* story, without a silly murder plot, and I think that it’s better, but folks still remember weeping Joan…)

And the endings….!

The novel ends with protagonist Neff getting the hell out of town with the woman he killed for, and taking a cruise to Mexico. He realizes on the way that she’s not just reckless but crazy — watching her put on her makeup, to clownlike excess, is the giveaway — and that he doesn’t love her. They will likely be arrested and extradited when they hit shore. At the end, still going through the motions, he persuades her to go up on deck with him, and the strong implication is an incipient murder-suicide, which is no less than they both deserve.

The movie ends with Neff, dying from a bullet wound, being discovered by his friend after he’s dictated his full confession into a tape recorder.

Now, as a novelist, and as a reader, I prefer that first ending.

I can’t quite believe that it would have worked in a movie, certainly not a movie of the period. The movie gives you exactly what you need at that moment, the sense the book’s ending does that this sap’s goose was cooked the instant he met her. And it does without all the tragedy-of-manners stuff from the novel.

No, AMC, There is Zero Chance Of Me Watching Your Movie Marathon

Posted on November 4th, 2016 by Adam-Troy Castro

Thanks, AMC Network, for advertising your Thanksgiving Day marathon of John Wayne movies. Excellent!

But I hope you’ll forgive me for telling you right now that there is zero chance of watching any of them on your channel.

You happen to be a great outlet for original programming, but your treatment of movies is Philistine and I have no intention of watching any film, especially not any classic, in a showcase where they are not only cut to shreds to accommodate commercials but where this is done with such sloppiness that load-bearing story elements are among those excised.

Seriously, that one time where you took a movie that was pretty much a three-character play and cut out the highly dramatic death of one so that anyone encountering the movie for the first time on your network pretty much saw him vanish without explanation was the last time I saw any movie because you were airing it.

Pretty much, what I do when I see that you’re showing any movie I love is wince at the prospect of the damage you’ll do to it.

“Oh, great, AMC is showing all three GODFATHER movies. It’s kind of like throwing Van Gogh’s STARRY NIGHT into a paper shredder.”

 
 
 

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