Pet Park in Peril

 

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Only chicken wire and wood separate the canines from the under-nines

In what is set to be the battle of the ages, dog owners along Toronto’s Beaches boardwalk are up in arms over an invasion that has them frightened for the safety of their four-legged family members.

A new disease-bearing tick?

Someone leaving poisoned treats?

Marauding coyotes looking for a snack?

Nothing so mundane.

Instead, pet parents are angry that the dog park at the foot of Lee Avenue has been invaded by terrors of the bipedal kind as parents throughout the area have literally unleashed their children within the wood beam and chicken wire compound.

“It’s just not fair,” cries local Peke-a-poo owner Jolene Carpenter. “They have a wooden fortress and wading pool right there in Kew Gardens, and full playgrounds at either end of the boardwalk.”

“How would they like it if we turned their sandboxes into litter boxes?” adds Henry Ratsburg, collie-enthusiast and former cat owner.

As though proving their point, the fence bordering the dog park resembles a sand-covered drive-in as strollers of all sizes, colours and designs sit parked along the fence. Meanwhile, their parental owners relax at the nearby ice cream bar and coffee shop, chatting with other parents while their children run amok beyond the gates.

“I really don’t understand the fuss,” chimes Cyndy Jacobson, mother of two. “My kids need a safe place to run around, and this is the only designated off-leash section of the beach.”

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Docile when leashed but muscles braced for freedom

Ironically, the dog park, which is actually comprised of an open sandy section and a larger shrub-laden section, was established by the City of Toronto several years ago after many parents in the area complained about dogs littering their waterfront fun.

“It was a total mess out there,” remembers long-time Beaches resident Jackson Brink. “At best, people would just bury the dog droppings in the sand, but it doesn’t take long on a hot summer’s day to realize you’ve parked your beach towel on a fermenting pile left by a mastiff or Great Dane.”

Play time

Frolicking in the sand or burying the evidence?

The park’s transition from canine to kiddie has been a slow but inexorable one that started with delayed summer temperatures last year and parents’ worries about letting their children play in the frigid surf. One by one, as stressed parents discovered the relative calm of the dog park, they began to release their children into its confines.

“The first few actually showed up with both kids and dogs in tow, but they didn’t fool us,” says Carpenter. “Within minutes, you’d see them skulk out of the park with their dogs, the kids nowhere to be found.”

Several residents have demanded the City step in, if only to deal with the potential health and safety risks.

“They bite; they scratch; they’re full of germs. I just don’t feel that my babies are safe in there,” complains Ratsburg, anxiously stroking the fur of his tri-colour collies.

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Ratsburg and friend in better days

Nobody from the City of Toronto was willing to go on the record, but one unnamed source suggests there is little the City can do given the way current bylaws are written.

“All we can do is caution people to make sure their little ones have all their shots and don’t get trampled,” the source suggests. “Residents with children might want to do the same.”

Auto(populate)bots Assemble!

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Reports suggest that within the next two decades, robots will take responsibility for upward of 50% of jobs currently handled by humans, who simply remain inefficient and cannot work 24 hours a day.

Already, we are seeing automation in manufacturing and order-entry kiosks in the services industry. It is assumed the next stage will involve a complete takeover of the social media industry, with timelines auto-filled by trivia and rumour bots.

This post brought to you by the Xorblat 3-11A

Photo stolen without permission from The Robot State blog.

For a legitimate discussion of such topics, check out The NeoHuman Blog.

Movie memories for 2015

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For a guy trying to make it as a screenwriter, it takes a lot for me to go out and pay to watch a movie. I think it’s, at least in part, because I don’t deal well with disappointment and particularly when I’ve had to pay for it.

Luckily, my friends had some luck dragging me out of the house this year, so below, I offer one-line critiques of the various films I saw in theatres (with hyperlinks to longer reviews I’ve written).

Taken 3: When the hell did I see this, and more importantly, why?

Paddington: Charming and a lot of fun.

Kingsman: A rollicking good time.

It Follows: It bores me

Ex Machina: Oh My Deus, was this written by a robot devoid of emotions?

Age of Ultron: Miss a movie, lose a thread; think I am out of this series.

Mad Max Fury Road: You will believe a man can drive…that is all.

Inside Out: Underwhelmed, but appreciate I am only one.

Self/Less: Flawed but interesting

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Trainwreck: Not one, but Schumer can do better

Ant-Man: Most fun I’d had all year…Rudd is perfect for this

Man from UNCLE: Stylish throwback that I liked more than most people did

The Martian: Surprise hit for me; kudos to all including author of book

Steve Jobs: A metaphor for dysfunction…and sadly, not in a good way

In the Heart of the Sea: More like in the heart of my sleep

Star Wars The Force Awakens: Visually stunning, overly sentimental, disappointingly regurgitated story

Spectre: Good movie with a stupid ending…am I outgrowing Bond?

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12 Days of Gratitude – Nicholas

Nicholas

This is my friend and soul mate Nicholas, a man who is more of a character than the puppets he brings to life.

From the moment of our first meeting, Nicholas and I have been kindred spirits, finishing each other’s sentences, flubbing each other’s jokes. When Nicholas embraces you into his heart, you know that you are loved and that you will never have to face any challenge alone.

Make the effort to meet the many faces of Nicholas and experience the true definition of kindness.

P.S. You can also learn more about Nicholas’ strange afflictions on his web site: Lemon Productions Inc.

(Part Eight of my 12 Days of Gratitude…because the rest of the news sucks)

12 Days of Gratitude – Ned

Ned Hickson

I’d like to introduce you to my friend Ned, perhaps the greatest man that I have never met…well, not in person or on the phone at any rate.

A great wit in a world stuck in the Witless Protection Program, Ned is a loving father, husband and friend who not only writes heartfelt humour but also gives of his time to protect his community as a volunteer firefighter. And yet, for as much as Ned gives, you are never left in doubt that he has time and energy for you.

I look forward to the day Ned and I finally meet in person…and likely discover we hate each other’s guts.

P.S. You can follow Ned’s insane perspectives on life on his blog: Humor at the Speed of Life (also the name of his book, available on Amazon)

(Part Six of my 12 Days of Gratitude…because the rest of the news sucks)

Documentaries can change the world

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Just when you thought it was safe to go back near the water, SeaWorld announced that it will phase out its world-famous—and more recently, infamous—killer whale shows. The decision comes after months of pressure from community and animal-rights groups outraged by scenes depicted in the documentary Blackfish.

To further show the power of documentaries, however, the U.S. National Institutes of Health (NIH) recently announced that it would phase out the use of chimpanzees in biomedical research, transferring its remaining test subjects to an ape sanctuary.

NIH officials have given numerous reasons for the decision, citing the weakness of animal models for human disease and technological advances that make such animals less necessary. Many, however, suspect the government agency is bowing to pressure from community groups fearing the post-apocalyptic world highlighted in the documentary series Planet of the Apes.

In particular, the actions of former laboratory test subject Koba scared the shit out of everyone.

There is no doubt that this trend of documentaries changing animal policies will intensify. For example, it is anticipated that the 2016 release of Ice Age: Collision Course will prompt the U.S. government to change its policies regarding the Scrat…whatever the feck that is.

Oh Muppets, where are’t thou (UPDATED)

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Yesterday, Deadline: Hollywood announced that Bob Kushell, co-creator and showrunner for The Muppets, would be leaving the fledgling show while Bill Prady and a new showrunner (possibly Kristin Newman) would work on retooling the ABC series that has garnered vast quantities of media and social media coverage.

As the Deadline article suggested:

“But after a highly-rated premiere, ratings dropped. The Muppets has done an OK job opening Tuesday night for ABC at 8 PM, with its numbers on par with lead-out Fresh Off The Boat, but because of its marquee title, The Muppets has been held to a different standard, so its performance has been  considered somewhat disappointing, and there has been a concern about its creative direction.”

I am part of that ratings drop, for reasons I will discuss shortly, but I have several friends and associates within the puppetry community who have struggled mightily to stem the tide, lauding the show’s freshness and energy and chastising its critics. I feel bad that I have let these people down, but I feel it is for good reason.

Briefly stated: The Muppets (the TV series) is a pale, anemic shadow of the Muppets (the icons).

My biggest concern about The Muppets is that the Muppets aren’t leading the way…they are following someone else’s formula. This feels like total anathema to all of what Jim Henson was.

The current incarnation is little more than The Office but with felt-fleshed characters. Look no further than the show’s logo which is presented in the same manner as that of The Office and with an almost identical typeface. And the setting within a late-night talk show makes it a pale imitation of The Larry Sanders Show.

the Muppice

Although parody has long been a staple of the Henson way—consider “Veterinarian’s Hospital” and “Pigs In Space”—The Muppets is not a parody but rather is being sold as original. And ironically, while the new content is supposedly more adult, I would offer that it is not nearly as edgy as it used to be. The humour isn’t nearly as sophisticated as it was in times past. (I appreciate that it is now property of Disney.)

Case in point: References by members of Dr. Teeth and the Electric Mayhem to illicit drugs and rehab have become much more overt in the new series whereas they were only really implied previously. It is as though the showrunners don’t have faith in the audience “getting” the jokes.

“Oh, my God! Did Floyd say rehab? That’s edgy.” No. No, it’s not.

But back to the leadership discussion.

Henson and his gang were innovators. They took an ancient format—the puppet show—and brought it to heights never before imagined. They didn’t pander to their audience but rather challenged them to follow along or be left behind.

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Sometimes that became wildly popular: The Muppet Show, Fraggle Rock.

Sometimes it never found a wide audience: The Dark Crystal, Muppets Tonight.

[NOTE: Dear purists, I know that Muppets are Muppets and the others are not…I am trying to make a point about innovation here, so please bear with me.]

And, as I understand it, even the now idolized The Muppet Show almost never existed for lack of interest by American networks that couldn’t see the vision and felt variety shows were on their way out—in 1976, only The Carol Burnett Show remained, Sonny & Cher and Tony Orlando & Dawn having ended a year earlier. That’s why the show was created in the U.K. under the financial benevolence of Lew Grade.

From a mechanical perspective, the artists working on The Muppets are doing an admirable job. These are incredibly skilled men and women performing a technically challenging art form that combines the illusory world of puppets and the frailties of human flesh.

But all that skill and effort is for naught without a heart and soul. And these, in my opinion, are what the current show is lacking.

Ironically, when I watch The Muppets, all I see are puppets, characters trying to entertain an audience. I don’t sense the humanity within the puppets, and it was that humanity that made the Muppets so special in the first place.

Perhaps this is just a case of old-man-itis on my part—“when I was a boy…”—but sadly, I am putting down the empty toys that The Muppets represent and mourn the (hopefully temporary) loss of old friends—the Muppets.

I wish everyone the best of luck with the reboot.

PS I love the work of Bob Kushell and Bill Prady, and place no specific criticism on anyone’s shoulders for my concerns about The Muppets. Not saying this is the case here, but sometimes talent and creativity is not enough to overcome a bad match between artist and vehicle.

See also:

Breitbart‘s “The Muppets’ Reboot: What Hollywood gets wrong about family entertainment”

Although I think the writer (Melissa Henson) has made some valid arguments about the writing of The Muppets, I think her overarching belief that this was intended as family viewing is wrong. Although these are beloved characters from film and television, this show was very much centred on an adult audience. To repeat an earlier point, calling this family entertainment would be to ascribe the same to The Office.

You and Me Both – a revue review

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As a disclaimer, I should tell you that I am in love with Toronto comedian Naomi Snieckus. What keeps this from getting too awkward—for me, at least—is the fact that I am also in love with her comedic partner and husband Matt Baram.

There. I said it. It is out in the open. Let the restraining order chips land where they may.

Last night was the preview of Baram and Snieckus’ latest stage revue You and Me Both, playing at Toronto’s Theatre Passe Muraille – Backspace. And short of attending the show in the performers’ living room, a more intimate setting could not be found.

Minimalist is too long a word to convey how intimate the Backspace is. As the sell-out crowd of about 40 patrons stirred on their Obus-form cushions, we were faced with an almost barren stage but for a handful of stools and chairs, the furnishings hearkening back to Baram & Snieckus’ days as performers at Toronto’s Second City. And the stage itself was little more than a black box that Schrödinger’s cat wouldn’t be caught dead in (or not).

The reason I go on about the environment is because this is the setting in which Baram & Snieckus work best. When you see these two perform, it is less a classical theatre experience where the actors remain in a distinct world, separated from the audience. Instead, the audience is embraced by the performers—not literally, more’s the shame—and shy of being brought on stage, are used by the performers to heighten and inform the performance. As an audience member, you feel special in their presence (see earlier disclaimer).

But onto the comedy.

Unlike most Baram & Snieckus performances where improvisational scenes take the day—you will be hard-pressed to find two better improv performers—You and Me Both is a scripted show, a combination of sketch and musical revue, most of which worked really well.

The opening musical number was a bit uneven, Snieckus seeming more comfortable with the music and routine than Baram. Astaire and Rogers these two aren’t, but Snieckus sold it for everything she was worth. Baram musically redeemed himself later in the show, however, in a number that played to his strength as a performer: frustrated under-achiever.

The sketches, however, were classic Baram & Snieckus as the two latched onto characters of all stripes. After a decade of performing together, the two are perfect foils for each other. If screwball comedies ever became vogue again, these two are Rock Hudson and Doris Day (with Snieckus as Hudson).

Screwball

As scene transitioned to scene, Baram & Snieckus chameleoned into their roles, the muscle memory of improv turning them into the characters rather than simply performing them. That being said, the only bit that really fell flat last night was ironically the lone improv piece.

Watching these two perform is tantamount to witnessing a comedic kaleidoscope, every twist and turn bringing something new to dazzle the eyes and ears. You and Me Both is just the latest twist and more than lives up to expectations.

The intermission-free show, which was listed as 80 minutes but has been cut to 65, runs until November 1 with shows at 7:30 pm and weekend matinees at 2 pm. Knowing these two, each performance will offer something new, so consider seeing the show more than once. For $20, you’re unlikely to spend a more entertaining hour.

Related:

Baram and Snieckus are the city’s most laughable couple (Toronto Star)

National Theatre of the World

NEWS FLASH: Spill on Mars

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Within moments of announcing the discovery of flowing water on the surface of Mars, NASA officials were back at the podium with an additional announcement.

“We have to admit that we were completely caught off guard by this, but it seems that an oil tanker has run aground in one of the Martian streams and is spilling massive quantities of oil into the aquifer,” announced the saddened official. “Upon identifying the owner of the vessel, we will be working with their containment specialists to try to limit the environmental damage.”

“There is no indication that any native species are in immediate danger from contamination,” he pressed. “Although we are saddened to report that signal transmission from the NASA rover ceased shortly after the grounding was initially reported.”

NASA released the last image that the rover transmitted back to Earth.

"Had no idea oil companies were working in the area." - NASA official

“Had no idea oil companies were working in the area.” – NASA official