All victims, all loved

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Participants observe a minute of silence during a vigil honoring the victims of the Paris attacks at Sun Yat Sen Memorial Park in Sai Ying Pun. 14NOV15

In the days since the attacks on Paris, I have watched my social media streams explode in two directions.

The one includes demonstrations of support for the victims. Messages of love and commiseration. Prayers for a peaceful future. Shared tears of loss, both physical and spiritual.

But while these messages may represent the majority in my social circle, there are others that I find disturbing. Others that by their tone and content seem all the larger.

I have been surprised and dismayed by the venoms of hate and anger that blots my timelines. Friends and family spewing abhorrent messages against Islam, against innocent refugees, against anyone who does not look or sound like them.

And although I am not the target of these comments—my timeline merely one poster board on which these messages are painted—they cause me pain. They trigger anger and even fear within me.  I want to lash out, to attack.

But I cannot.

These are not discussions of logic that can be ameliorated by a well-considered series of facts. And lashing out would accomplish nothing. Spewing venom on top of venom only makes the world more toxic.

Instead, I must respond with love.

At the same that I extend my arms to embrace my like-minded friends suffering in the aftermath of the insanity, so too must I embrace those who I feel are piling on to the tragedy, exacerbating the fear, the hate, the pain.

They too are uneasy and uncertain about the future. They too are confused and frightened about the prospect of these events unfolding again and closer to home. They too need comforting and a renewed sense of security.

While the words these people write and speak may be abhorrent to me, they themselves are not. And difficult as it may be at times, in the face of my own pain and fear, I must always remember that.

And so, I open my arms to everyone, and will myself take solace in the return embrace.

I truly believe that this is the only way.

Peace and love to you all.

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Falling into autumn

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Last week, I took my camera out to catch a glimpse of nearby Toronto’s Kew Gardens and the fading remnants of our Remembrance Day commemorations.

Blood red poppies

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Remembrance Day

Every year, as October transitions into November, I go in search of a new red poppy pin in honour of Remembrance Day on November 11. It is a tradition in my family and across Canada to append the crimson flower to our lapel as a reminder of the bloody sacrifices made a century ago.

I also wear it to honour my great-grandfather Francis Sowden, who came home from the Great War, unlike so many others, including siblings on my great-grandmother’s side who are sadly just names without faces to me so many years later.

I am one of few in my generation to have known Francis Sowden.

I am one of few in my generation to have known Francis Sowden.

Recently, I have heard people complain that the commemorative symbol of the poppy has been co-opted by those who want to hail it as a symbol of the glory of serving in the military, if not actually the glory of war itself. This bothers me.

I greatly thank all those who have, do and will serve in the military both in Canada and abroad, many risking their lives to keep others safe. Although I was an unthinking idiot in my youth, I have learned that these people, while frail humans, are noble titans who see conflict as a last resort.

For all that nobility, however, the poppy must remain a separate symbol.

A painting from the Royal Ontario Museum that haunts my dreams. (sadly, I cannot remember artist)

A painting from the Royal Ontario Museum that haunts my dreams. (sadly, I cannot remember artist)

The poppy reminds us of the horrific toll of war. It is a crimson stain upon our lapels that taints us all and reminds us of the fragility of the peace that surrounds us. The bloody hue taunts our civilized smugness with a warning of how easily we can fall into the pit of violence, whether as individuals, communities or countries.

While we wear the blood red poppy to honour the fallen of World War I, we also wear it as a badge of shame that the war ever took place, and that the war to end all wars wasn’t.

This dual purpose must never be diminished. We must strive to be better.

And next year, as October transitions into November, I will go in search of a new red poppy pin in honour of Remembrance Day on November 11.

I will never forget.

A cemetery near my home reminds me of the sacrifices

A cemetery near my home reminds me of the sacrifices

Lost in Austin

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Although I was in Austin to attend the amazing screenwriters’ conference attached to the Austin Film Festival, I did manage to make my way around town with my camera (and cell phone).

Sadly, it was not until the day I left that I discovered the amazing trail around Lady Bird Lake (formerly Town Lake). Next year, I will be back with a vengeance to record the trail and its astounding diversity of flora and fauna.

See also:

Ron Scubadiver‘s Town Lake photos

Pierce Wanderings Town Lake Kayak photos

Living Outside the Box Town Lake photos

Kelly Phillips‘ Town Lake in January photos

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

To vote, or not to vote…that is your decision

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I used to think that not voting was a valid form of political protest, but I now understand that it is only the first step.

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If you choose not to vote, I respect that. But I challenge you that it accomplishes nothing.

If you choose not to vote as a protest, I presume that you want to change the system in some way. And yet, you have offered no alternative.

The election will go on whether you vote or not. The raccoon that raids my recycling bins won’t vote either.

When people protest through marches, sit-ins or hunger strikes, they make themselves visible. When you don’t vote, you remain largely invisible. So if you’re not going to vote—a right I voted to defend, in some ways—then do something.

Hold a “we didn’t vote” rally. Gather other non-voters and raise your voices in protest. Offer your own platform; suggest an alternative to the current electoral system.

If your idea is viable, you might gain support from voters. You might actually create the change you seek.

But if you simply do not vote, then you are not only invisible to the rest of us, but you remain complicit in the system you despise.

Parliament Hill

Autumn in the backyard

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As I was putting trash into the bins behind the house, I was caught by the profusion of colour pouring down the wall at the back of the yard. What is usually variegated blanket of green had exploded into a rainbow.

Blustery day

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The seasons change pretty quickly in Toronto. One moment, we are complaining about the heat and humidity; the next, we’ve swapped t-shirts for parkas and bathing suits for balaclavas.

Such was the case earlier this month when a windstorm rolled in over Lake Ontario and the beach near my home. I still have sand in my pockets.