ASKING FOR IT

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“Linda Maaary!” yelled my Scouse-Irish-Catholic mother —who hated being known by her full churchy name of Patricia Anne Veronica. (She still hates it. So I make sure to reserve it for special occasions. Full-naming Catholics makes ya sound like a bloody nun, so of course, me being me, I used to prefix it with Sister – just because it sounded so niiice next to Patricia. This was assonance and I didn’t know it. Except… I did.

“What are you hiding? I can read you like a book.”

Apparently, everybody always could – except me. I had no idea who I was.

I’m not one of those womb-writers who’s been at it since conception. I haven’t always wanted to write. But this: I’ve always written. And because I always did, everyone else decided that’s what I was going to do. I denied it, of course – and then went and wrote about my desire for people to drop the subject. I’d decided I was NEVAH. GOING. TO. BE. A. WRITER. BECAUSE NO.

Having my father for a dad helped me with this denial. When I was ten, he found an I Hate My Dad note of mine. This was the start of the YOU-MUSTN’T-WRITE-IT’LL-GET-YOU-INTO-TROUBLE crap. And I believed this horseshittery, my brain of a decade not realising he was thinking only about himself. Didn’t talk to me for a fortnight, either. Rather than employ a little introspection and find out why his daughter detested the living shit out of him, he sent me to Coventry—a place I visited far too often as I was growing up. And whilst I was there, I would write tales of paternal detestation on West Midlands paper. And I hid the lot. Sometimes, I’d even shred the stuff—once the words were out of me, there was no need for me to ’em.

High school was appallingly bad – well, at least the first one was. There, I was bullied for being too pretty and having Jaggerlips and being too fucking smart (although, if that latter bit had been true, then surely I’d have had a good comeback).

I did enjoy Latin class – but each time I tried to enthuse to my father, all he’d do was have a go at me for my Dave Lister accent. I’m FUCKING SCOUSE, DAD. I’M GONNA OMIT THE T. OKAY? Hear me speak: La-in, La-in, La-in. (This from a chick who now hates the current trend for leaving the ‘t’ sound out of ‘bottle.’ I must get it from him. Bollocks. Although technically, I’m something of a diluted Scouser now, having been over the water for thirty-odd years *shudders in Old Person*)

Crappy parenting was the bible of my life. Dad in particular would sit and pray that nothing would happen to me or my two brothers, without actually doing anything to protect us. Cut to: me, aged fourteen, getting pissed with scally schoolmates and brainbanging to student music on art centre Thursdays.

I dunno – maybe praying worked for the first year, when nothing happened to me during my wannabe-mosher phase. But my father’s god must have stopped listening by the time I was fifteen and taken advantage of by two lads from the year above. I use that ghastly euphemism because you say “rape” and people hear “victim.” I was never a victim. I was pissed. I couldn’t remember it. I recall being on the streets, screaming for help for whatever reason, but I had no real knowledge of WHY. 

Until the day after.

At art class, I knew something wasn’t right —and it wasn’t just the too-much-Merrydown feeling. So, I checked my soft bits, as y’do. Blood. Told the teacher. The teacher told the headmaster.

Sirens.

Me: Bundled into a police car.

Me: On a living autopsy table. Tweezers pulling out my short-and-curlies, photos being taken for medical journals. Swabs, evidence bags filled with the clothes I’d been wearing. A bit of prodding, a lot of whispering. There’s a shitload of cuts, they said (without the swearing). So they showed me in a mirror. Fuck—they were right. I saw purple bruising on my inner thighs and hold-her-down marks where they’d grabbed my arms.

I started—continued—to remember.

I felt like shit—I’d betrayed my Catholic parents and their god by way of pre-marital rape. Not that I knew anything about that—my experience was limited to a bit of bike-sheds fumbling. I remember having asked my dad at age nine what a virgin was, only to be told that it was “A man who has not lain down next to a lady.” Wow, Dad. Just wow (at that particular juncture, I freaked out about the fact that my male cousin and I had slept next to each other in a fucking tent the weekend before).

I was a harlot. So I wrote poetry about harlotry.

Dad blamed a—gasp!— sexually adventurous friend of mine, and because I’d been knocking around with her, I must have been the same, right? She’d been there that night, so the bizzies had called her in to give a statement. Turns out she’d heard me calling for help, when I hadn’t heard myself—but as she’d been busy round the back of the art centre getting some consensual action, she’d presumed I was having the same kind of fun and paid no attention.

They called the lads in. They’d heard I was easy because of the person I knocked around with. So, seeing me, pissed as a fart, they’d gone for it, kecks down. I guess I’d been asking for it, huh?

They took my statement as I dictated to WPC Carter. With my upside-down eyes, I watched her write—and I watched her make grammatical error after grammatical error. The only way I could put it right was to come home and write my own version.

Then they called me back. They asked me about my own fooling-around adventures. Made me describe in front of my parents what a blowjob was. They wanted a fucking mime of it, too. CLEARLY, this would have given the lads just cause to do what they did. If they could prove I’d given some lad a beej—which I hadn’t, I might add—then those two lads were perfectly within their rights to do what they did. Out of the mouths of the local constabulary: “You led them on.”

They were clearly right, because I’d been somewhat sluttily-dressed. Said they. Said my father. Fishnets, more of a belt than a skirt—totally my fault. ASKING for it.

Dad brought in a tape recording he’d made that night. He’d taped me reading the newspaper, with the intention of playing it back the next day to shame me for daring to get pissed. The cops listened. They realised how leathered I’d been and therefore how non-consensual the event. But it didn’t matter. The head of the school—according to my mum—was a Freemason and had police connections. Didn’t want the scandal on his school. (I’m still unconvinced. Maybe he was just a twat.)

Rape Crisis were about as much use as something that’s no fucking use at all. They persuaded fucked-up and fucked little young me to drop the charges. It was apparently in my best interests because I was Just.Too.Young to cope with THE STAND and being cross-questioned.

So the two lads walked. (I’m told that one of them also walked into a knife a year or so later in an entirely unrelated park incident.)

I was kept off school for about six weeks, during which time the bullying continued—this time, at my house. We were pelted with stones and eggs and there was a brick through the window. I was a whistleblower, a snitch.

SLAG and SLUT were other things I was, apparently. Eventually, I went all Tyler Durden on the cock of the school, and punched her fucking gobshite face in. Not all of the blood on my shirt was mine. But that, too, was my fault. And why? Well, according to the father, I was a nymphomaniac. Thanks again, Dad.

The bullying got too much for my parents, and I couldn’t keep on making people’s faces bleed. So I moved across the water. Started a new school. And because I was halfway through my exams, I chose to stay back a year because they couldn’t match up my subjects. My new school didn’t do my language of choice so I wrote a Latin letter of complaint to the council (as best you can do with a dead language), which was my own crappy way of trying to keep it alive.

There was a bit of whispery gossip amongst my classmates…why is she older than us? Why is she here? Is she that STUPID she has to stay back? And when an entirely new set of bullies realised I was a libraryload smarter than them, that coaled their fire. Dad made it clear I wasn’t allowed to actually come out and say what had happened to put me there, because SHAME. But paper actually put out the flames. Books fanned me into existence.

I found Shakespeare. I was nurtured by an incredible English Lit teacher who knew just what made me tick in beats of five-by-two. I read Chaucer without having to have it translated for me—I’d found my own rhythm. FINALLY! People who spoke my weird-ass language!

But there was a problem. I was an (*almost) straight-A student. This confused the shit out of me—being equally good at everything meant I didn’t excel at anything. So, when it came to university, it didn’t come to university. I didn’t go. I had no fucking idea what I wanted to do. Critiquing the crap out of Orwell and Priestley wasn’t gonna get me a day job. So I went home and wrote sci-fi stories whilst applying for interviews in any fucking field going.

(*Geography can piss off.)

Forensics and I had a brief dalliance simply because I fucking love science (pretty sure this had something to do with the living autopsy I’d had at age 15). I could help people, I thought. But life in the bacti-lab was no fun, and aside from a guy’s thumb—kept pickled in the fridge—I never did get to see anything dead. YAWN. Wrote a horror short about the experience, entitled RIGID DIGIT, but no… I wasn’t a writer. I refused to be a writer.

I dabbled in journalism at Radio City and qualified in the subject whilst I was there. Did a bit of vox-popping and radio production, a touch of tape-splicing, and more than a thumbful of twiddling. Whilst I do have a great face for radio, I fell into critique. Ended up working for a shall-remain-nameless rag. Told it like it was. Was asked to tailor my style to that of their own house: arse-kissery for the sole purpose of shitnosing a bunch of Think-Themselves-Very-Important People. Was asked (again) to write (a lot) less like me and instead use someone else’s voice. I resigned; I couldn’t be the mortar to a house whose unimaginative bricks had already fallen. Didn’t stop reviewing, though. Loved it. Daily trips to the flicks (it was cheap back then) resulted in wonderful rants. But friends kept telling me to write my own stuff. I can’t, I’d say. I have no imagination, I’d say. I’d rather just get a movie and perform an autopsy on it, I’d say. Get it on my little wordy slab and explain its anatomy. Describing why a film is so utterly fucking watchable (or switchoffable) was the only thing I was any good at (or, ‘at which I was any good’).

Spat my dummy out. Again. Read a bit more Orwell. Ate a bit more Shakespeare. Headached through A Brief History of Time. Wrote some stories. Poed some poems. Drank in JB Priestley after he’d imbibed a bit of Jung, and then went and wrote a 15,000 word essay about my own little time theories.

And then… after receiving my review for his spec script, a super-bad badass screenwriter told me I was a better writer than he’d ever be. And – holy fuckballs: I believed him. And I believed in myself for the first time. I went home, dug out the unshredded, and read. I then proceeded to desk-bang my noggin to knock out the stupid. It worked.

So I started writing … and, slowly, offers started coming in. Publishment, Screenwordery, editing gigs, all of it. And after decades of denial, I finally accepted that this part of me should be allowed out. And now she’s out, here shall she stay.

So – why do I write? It’s simple: I was asking for it.

Sonnet 119

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Sonnet 119
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Across a pond a televisual church;
Displaying Armageddon unforeseen;
Our continent with theirs united: merged;
When British eyes ‘came glued to godless screens.
We fell at once into our chairs and pews;
As unbelievability unfurled;
A sermon painted in horrific hue;
An unprophetic evil unforetold.
A pestilential fever plagued glue-eyes;
Whilst fire and brimstone spoke destructive psalm;
And as this story true yet not devised;
For us to bear: a cross, to offer: alms.

Yet as not concrete-steel nor God protect;
So hopeless was each prayer and genuflect.

Who was he?

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I’m really glad everyone’s bummed out about his death; it means he touched us.

This is just a cross we have to bear – so fucking WHAT if we’re a bit miserable today? That’s nothing – it’s the least we can do, considering he let us borrow him for a short while.

Maybe somebody somewhere will seek help knowing that this great man was just like us; a man who quite possibly would have given all that he had, just to BE like us in some small way.

He had me at Nanu Nanu when as a wee sprog, I just kind of fell in love with him. It wasn’t his delivery or his madcappery – it was the EYES – his FUCKING eyes. They sucked me in – and I stayed there, hugged by his hairy teddy bear arms.  I soaked up every emotion he ever conveyed through that screen of mine.  And he OWNED it.

For me each performance was the greatest thing he ever did since the last.  Because of him, I was a Dead Poet until I was Awakened.  He said Good Morning to me and Hunted me with Good Will. Each performance was his finest – he gave ALL of his everything in a visual encyclopedia of acting classes that we get to keep.

But there came a time when we had to give HIM back.

Fuck.

Did we HAVE to?

Maybe we didn’t. Maybe somewhen, somewhere, somebody could have prevented this.

So who was he? All I know is who he was to me. He was Mork, he was Garp. He was Keating and Sayer, and a fucking GENIE, for Christ’s sake.

He was Jakob – and he was a liar. All actors are liars to some extent, right? They show you what they want you to see? They take on these roles where they portray someone else? Well, we didn’t get to see the character of HIM – he hid himself; he lied to us.

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I do imagine there’s no heaven – and it’s NOT easy to do. But instead, I’ve invented a little place in my own crazy head – an imaginary rehab where actors go for the ultimate recovery. (This is the shit that keeps ME sane).

And in this place, there’s a party going on. It’s a party for Supermen, whose worlds were stages. Here, it’s some kind of other-worldly Labyrinth; Phil Hoffman is there being truly awesome.  Peter Sellers walks on his knees and talks about this being the war room, so you can’t fight.

Seems like he fought his entire life.

Back to the party.  James Gandolfini is the Man Who Wasn’t There, and Michael Clarke Duncan towers eighteen feet over everybody else. James Dean doesn’t say much but looks pretty fucking cool, while Phil Hartman does incredible impressions of everybody else.

And Christopher Reeve stands up, and walks over to Robin Williams to welcome him home.

Wilfred’s Men

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A poet’s shattered soul reacts to crumpled men with words intact

Recalling lies as glory folds, one verse – yet many stories told:

Our Wilfred said they’d cursed through sludge, towards their distant rest they’d trudged

And Wilfred’s men had lost their boots but limped on, blind, deaf to the hoots

There, Wilfred saw a hanging face – as death came to his writing-place

So we could read -at every jolt- of gargled blood to our revolt

If Wilfred knew – if he could see -dead men survived by poetry

What would he say – and would he be surprised his words revered by me?

Adored by age, revered by youth, for hitherto-unspoken truth.

If then were now – if he were here, would Wilfred to the world endear?

Or is it likelier he’d see: the sale of arms, cash weaponry?

And then the fight to stop it all, this great divide as countries fall?

Perhaps for now, hypocrisy – humanity’s mobocracy:

And as he rhymes of this or that, he’d write: Manus Manum Lavat.

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FILM REVIEW – LAST VEGAS

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This is NOT the official review, by the way……but I just experienced THAT moment. Y’know, the one where you watch a movie containing some of the GREATEST fucking artists ever….and they’re all on screen together an’ stuff…but you end up trying to poke out your own eyeballs (earballs too, maybe).

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 I’m referring to “Grandfathers Do ‘The Hangover’ “, of course.  I can’t even bring myself to type the actual, hideously crowbarred, I-see-what-you-did-there title. There is a time and place for puns; movie titleage is not it.

We have Michael Douglas in leftover Liberace orange-face, being…well – Michael Douglas. Then there’s Morgan Freeman who, apart from one inspired little bit of inebriation, leaves me otherwise MEH….De Niro IS, of course, doing his “I’m really THAT fucking awesome that you can’t take your eyes off me ” thing….which is always good. Boring, but good.

But….and I feel horribly filthy even saying this, what with his being the GOD of everything ‘n’all….Kevin Kline just ain’t right. I feel like I’m cheating on him; I mean – bugger ME!! He’s OTTO, for fuck’s sake!!! He’s The Pirate King! He’s Dave! He’s Bottom! He’s Cole fucking Porter!!!!! (I could go on….). I must go and partake of some nifty little self-flagellation to atone for these thoughts…….

So….anyway….the story – such as it is. There’s this bloke, played by Dougie baby. He’s getting on a bit, and is about to get hitched to a 32-year old (a stretch – I know).

Unimaginatively, his three mates join him in Vegas for his utterly ghastly and extremely chavtastic stag bash. And we can guess the rest as soon as we see him perving over Mary Steenburgen. Yeah: there’s Mary as a kind of jazz singery thingymabob, who sounds more than a little like Snow White with her sitting-on-a-sex-toy singing voice.

Kev’s role? A sixty-something geezer, whose missus has given him (along with a blue pill and a condom) the green light to do whatever it is that usually stays in Vegas, in the hope that when he returns to her, he’ll pork away and fuck her blue. (Ok…it might not have been put *exactly* like that, and I realise that I *may* be channelling Otto a little bit).

But – YAWN. What a travesty of a sham of a mockery of a waste of a *Kevin. He’s just too fucking awesome for such a lame-ass role.

(*Often found myself wishing he had a cooler moniker).

It’s definitely not going down in Lin’s most-quotable movie list, being that I can’t recall any memorable lines; despite having only just watched the fucker.

This film should have been good. It should have been either amazeballingly awesome or awesballingly amazesome. Sadly, it was neither. All it was? A load of leftover one-liners from the Bucket List.

So. Erm…yeah. Do I have anything good to say about this movie? Erm…There’s Curtis Jackson in a nice self-parodying cameo, and that guy is well fit. Nice gnashers.

That’s it.

Oh fukkit – this IS the official review.

GiveMeALobotomyToRemoveThisFromMyGreystuff rating (out of 5):

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We Have Such Sights To Show You

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So – you’re a movie buff. Me too. But for those of you still in the filmfreak closet, here’s a way you can quote your favourite lines ALL….DAY….LONG….and nobody need ever know (unless you want them to – I assure you, it’s a great pulling technique if you want to gather yourself a nice, smart movie geek).

Technically, any flick with a half-decent script is a quotemine, so this list is compiled with that in mind; to show you just how easy it is. Quotes you didn’t know you knew, lines from films that are usually overlooked when it comes to “Best Quote” lists. It’s especially thigh-slappingly amusing trying to crowbar a line into a conversation at work. With a customer. On the telephone. And yes – I have. Many times.

So fly, fly – engage in a little of your own project mayhem that only the true enthusiast will espy. Let’s explore how we can take oft-overlooked statements and make them work for us (Work it, baby, work it…)

Ah….We have such sights to show you….

The Terminator (1984)

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Why it’s so quotable – with a Duel-like chase, the story becomes all the more sinister as Arnie’s Terminator takes on the voice of Sarah Connor’s mother to track her down at the sleazy motel. You too can be equally menacing if you need to know where someone lives:

“Give me your address there”.

OR…..run from that spider crawling towards you, at the same time maniacally exclaiming:

Why me? Why does it want me?

When trying to haggle at a market or garage sale, turn to whoever is next to you and tell them, referring to the vendor:

It can’t be bargained with, it can’t be reasoned with.

(Using this one makes you truly awesome.)

This will all stand you in good stead for the day you need to borrow someone’s clothes, boots, and motorcycle.

Withnail and I (1987)

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Why it’s so quotable- the greatness of the nothingness of every single thing that happens in this movie owes itself to Bruce Robinson’s uber-screenplay. He provides us with a truly juicy superabundance of utterances which can be easily levered into everyday speak.

The finest hangover line available to humanity?

I feel like a pig shat in my head.

Feeling a little paranoid in a new office or hotel room?

You’re not leaving me in here alone. Those are the kind of windows faces look in at.

When you experience poor service at a local establishment, it’s super-fun to yell:

We are multimillionaires. We shall buy this place and fire you immediately.

(Of course, they won’t believe you, but your pure awesomeness makes that a moot point).

When you’ve haggled with the vendor at the aforementioned garage sale, you do of course need to tell them they’re out of their mind. But it only makes sense when you get down to two quid.

Fight Club (1999)

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Why it’s so quotable – With their screenplay, the deities that are Chuck Palahniuk and Jim Uhls make things secretly obvious. If you’re anything like me, by the end of the movie your head is spinning with the incredible dialogue you’ve just heard.

To console someone about a break-up:

It’s only after we’ve lost everything that we’re free to do anything.

If you want a slap in the chops, wait until someone you know gives birth to a girl and utter:

We’re a generation of men raised by women. I’m wondering if another woman is really the answer we need.

(The mere danger/stupidity value of using this quote means you’ll receive extra cool points on your awesomeness chart).

It’s the ideal movie for paraphrasing purposes, too, where you can create endless phrases inspired by Chuck and Jim: “I am Philip’s sense of utter rejection” or “I am Maria’s total lack of responsibility”.  I am Linda’s lack of fuck-giving. That kind of stuff.

Ferris Bueller’s Day Off (1986)

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Why it’s so quotable – it’s fucking Ferris fucking Bueller’s fucking Day Off. That is all.

Customer service agents leaving you frustrated on the telephone? So many choices: but to start with you could ask them

Do you know anything?

(Or simply tell them to stick their finger up their butt).

Worried about being fired for using Terminator quotes on the telephone? Talk about your boss thus:

If I’m gonna get busted, it is not gonna be by a guy like that.

And if you are clever enough to crowbar:

I did not achieve this position in life by having some snot-nosed punk leave my cheese out in the wind

into a real life situation, then I may need to marry you a little bit.

This will imbue a sense of greater purpose and confidence: If you need to call across the office to your colleague Grace, you KNOW how it must be done.

Beetlejuice (1988)

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Why it’s so quotable – If you ever wanted to prove yourself strange and unusual, this film gives you the chance.

Not into the person trying to pull you down the local boozer? Refuse to tell them your name:

If I tell you, you’ll tell your friends…

..and go on to say it’d make your life Hell, ok? A living hell. (Disclaimer: at this juncture, if they get it and laugh hysterically, you may have to have a rethink – they might just be The One).

Viewing a new house? Not too keen? Tell the estate agent:

Oh look! An indoor outhouse.

Of course, there is the one you HAVE to use whenever you try on a new outfit:

This might be a good look for me.

Extra points for saying it after sucking on some helium.

Dave (1993)

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Why it’s so quotable – because it rocks. Simple.

Excellent insults abound:

You’re LINT! You’re a FLEA! You’re a BLIP!

Try on a sweater vest and complain in your best Voice of Ving that it makes your neck look too thick.

Take the kids on a museum trip just so you can say:

We’re walking, we’re walking…and we’re stopping.

(This could only be made cooler if Frank Langella were to bustle past).

Be Dave. Because Dave is just wonderful. Fess up to everything:

I take full responsibility for each one of my illegal actions.

If you know anyone called Ellen (or with the initials LN), you do of course have to thank them for doing this at every available opportunity. It’s the law.

Robocop (1987)

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Why it’s so quotable – because it’s essentially a comic lavishly portrayed by real people. It’s also one of the finest movies ever made.

Assure your friend that their upcoming surgery will be a success:

They’ll fix you. They fix everything.

Made a typo on a document? As you delete it, you MUST say out loud:

Now it’s time to erase that mistake.

(Come on! Say it with me!)

There ARE a lot more quotes from this movie…..I can feel them… but I can’t remember them.

Austin Powers(s) –  (1997 et seq)

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Why it’s so quotable – because it’s such a well-rounded collection of Mmmmmovies.

Don’t go for the obvious YEAH BABY nonsense. But if you’re about to go for surgery to correct your vision, you HAVE to do air quotes when you say LASER otherwise it’s just a wasted opportunity.

Channel Scott Evil wherever possible, with as many, like, whatevers as you can. And always refer to the French language as Paris talk. It’s like, cool.

Being that you’ll often hear people using the boring old in-a-nutshell phrase, you can liven things up. You know how – get on your back and be you, in a nutshell.

As you do this, laugh inwardly at your own genius, point to someone and tell them that’s where they are. They’re there.

Casablanca (1942)

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Why it’s so quotable – it’s set in a gin joint. There’s booze.

Enter a casino and declare that you are:

..shocked, shocked to find that gambling is going on in here!

Next time someone calls you a piss-head, explain that that makes you a citizen of the world.

Confuse the enemy: explain that somehow,

just because you despise me, you are the only one I trust.

You could also tell someone that you are looking at them, kid, but this may just cause confusion.

School for Scoundrels (1960)

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Why it’s so quotable – watch it. Just watch it.

Tell someone you’ve been married a long time. Perhaps almost

Be utterly charming and patronising at the same time, translating everything on the menu. Even if it’s in English.

Point to some tomatoes in your local store, and state what they are.

If you’re being berated for trying to get one over on someone, explain that:

he who is not one up, is one down.

Speaking of one-upmanship, get one over on your local garage by convincing them that your piss-poor excuse for a heap-of-crap car is actually a rare automotive gem.

See? It’s easy when you know how. I’m off for a game of golf now, but it’s snowing. So I’ll use red balls.

THE NHS? SHOCKING.

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Ma: The Doctors were useless. Yer Dad’s alright now though. But d’ya know what? (Shudders)… I was SO disgusted…THAT hospital.. Sheesh..It’s gone to the dogs…Me: (Bracing for a Ma-ism) Go on…

Ma: They don’t do the envelope corners any more when they make the beds.

#SomeoneCallThePolice
#ThisIsWhat’sWrongWithSociety

QUANTUM PEEP

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Come with me, if you will, to a state of omnipresence. A god, you are, on an enormous other-worldly sofa, watching the reality show that is planet Earth, and its wonderful, empathic inhabitants (just suspend disbelief and go with it. Cheers).

This is like having a trillion tv channels…but not. The main difference? You’re witnessing everything at the same time. The all-at-onceness of the big bang, your own birth and demise, the end of the Earth, with everything and everynothing in between. It’s but one perspective, no matter how impossible it might seem to our finite, fickle minds. And from this particular vista, do you see time whizz by? Do you see it flow as events unfold? Do you bollocks. Because time (and its BFF-slash-identical twin, space) are static. They’re one and the same – and there’s no now. There’s no such thing as the present. That sentence just there? Gone. Time-flow is an illusion, and no matter how you measure or record it, nothing changes. Spring forward and fall back? Nah. STILL nothing. And time doesn’t exist in any case, being the construct that it is. So, yanno.

And here’s the kicker: what’s your now might not be someone else’s. Cuz Einstein said so, k?

IMAGE: Here’s a pretty little squiggle of Albie’s block universe, an eternalistic box. Pretty, isn’t it?

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(Image: nicked wholesale from Google because I couldn’t be arsed making my own. Even if I had the skills. Which I don’t.)

If this is LIFE, THE UNIVERSE AND EVERYTHING as you look down upon it, then you can see that from your perspective, it’s all one. It’s static, and sure, it’s seen from an impossible vantage point, but if you roll with it, along with the the closing-off (never mind suspension) of your disbelief comes an OPEN MIND. Honestly – try it. Close your eyes, imagine the hitherto unimaginable.

The block universe has been said by some to be a bit bollocks, because it fails to represent the passage of time – time being one of our most fundamental experiences (even though—ssh—it isn’t even a thing). But who says it’s an irrefutable model of reality anyway? That’s why the word THEORY is just so niiiiice. (Greek – Theoria: contemplation or speculation) And from theories, little baby offshoots are born – theolets, if you will – and like all good thoughts, they grow and grow until they hit puberty and become A GREAT BIG HAIRY IDEA.

Logic tells us that indeterminate outcomes are governed/caused by (endless) probabilities in the “present.” Quantum objects exist in more than one state until we decide to measure ’em.

Because I’m feeling lazy, I’ll nick something from WIKI here, which pretty much sums it up:

“If the outcome of an event has not been observed, it exists in a state of ‘superposition’, which is something like being in all possible states at once….most quantum physicists now understand that the acts of ‘observation’ and ‘measurement’ must also be defined in quantum terms before the question makes sense. From this point of view, there is no ‘observer effect’, only one vastly entangled quantum system”.

IMAGE: Here’s a picture of a kitty. (Also stolen).Image

Let’s pretend he’s Schrodinger’s kitty. Think of a considerably more upsetting version of Does-a-Falling-Tree-Make-a-Sound-if-Nobody’s-There-to-Hear-It and you’re halfway there. You could also call this “The Observer Effect” (not to be confused with the Uncertainty Principle) if you can’t be bothered trying to spell Schro… Shcro…

So, yeah. Take a mog. Any mog. Preferably one you don’t want any more. Perhaps even someone else’s. Box him up with a vial of poison (because the box alone is presumably not cruel enough) and shove in a radioactive source. Add into the mix an all-singing, all dancing monitor that can detect the decaying state (or not) of a single atom, at which point the vial is shattered, releasing the poison that takes out the cat. The Copenhagen interpretation implies that after a wee while, the cat is simultaneously alive and dead. Although logic would have it that kitty may be EITHER alive OR dead, never both, we doom-brains can not observe and impact upon the outcome until it’s possibly too late for puss. This poses the question of when exactly quantum superposition ends and reality collapses into one possibility or t’other. When the box is opened, kitty, for all intents and purposes, adopts one or other of the two potential forms.

Now, let’s suppose you’re in a motor, and even though you’re moving forwards at 80 miles per hour, you’re not wearing a seatbelt (you must be a bit of a deathwishing dick, but whatever). Now, let’s suppose you crash. You twat yourself into that windscreen so hard that you come through and land on the bonnet. In bits. This is because you are travelling at 80 miles per hour as well—and when the vehicle stops, so, my friend, do you. But, depending on the witness and whether or not they can intervene, you might be indefinably dead and alive at the same time. Not until Schrodinger’s box is opened, or your remains are scraped from the car (or not) does the observer discover the outcome. If there are no witnesses, does the crash still happen? If the observer has intervening potential to change to the outcome, are you a cat in a box?

Why does this stuff give us brainache? Simple: because we have finite minds. And if we practice, we can surely eventually begin to tease some infinite thought out of those things. Maybe. Ye cannae change the laws o’physics, but we do have a choice in how we interpret them, Cap’n. It’s a big ask, but if we don’t yet have the answers, there’s nothing stopping us from asking the questions.

(Disclaimer: No animals have been harmed in the making of this rant. The same cannot be said of words.)

THE DANISH PLAY

Standard

The play’s the thing. And WHAT a piece of work is this play: how noble in structure, how infinite in interpretation. In form and moving, how express and admirable.

Our main guy, H, needs no intro, so I won’t give him one (keep it clean, folks). I’d refer to him as the titular character—but I frickin’ hate that wanky-ass phrase, so I’m not gonna. Anywho—he’s as Danish as bacon, his Dad (KING Hamlet—yup) has only gone and snuffed it, and his Pop’s brother Claudius has creepily snapped up H’s mother, Gertrude. Ew. Hence, King Claudius reigns, albeit rather sorta-incestuously-ish.

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The Scene: swanky royal castle, Elsinore. Foreshadowing ante: upped to the max.

Some guard-dudes tell Hamlet’s buddy, Horatio, that they’ve seen King H’s ghost. This gets back to young Hammy m’lad, who resolves to see said apparition for himself. That night, the Ghost appears (nicely telegraphed, Shakey) and spookily informs Hamlet that Claudius was the geezer-wot-bumped him off, aurally. Ghostdad demands his son avenge his foul and most unnatural murder; H doesn’t need telling twice, and although he’s not altogether convinced, he goes with the flow, runs with it—feigning madness in the process (it’s Shakey, kids. Everyone’s either nutso or pretends to be).

Anxious about Ham’s increasing bonkersness, two of his chums go undercover to get the goss. Hammy cottons on pretty quickly that Rosencrantz and Guildenstern are shifty little shits.

Polonius is Claudius’ counsellor-in-chief, and his daughter, Ophelia, is banging Hamlet. Probably. (She is a Nymph, in thy orisons, and he DOES love her, even more than forty-thousand brothers.) Shortly afterwards, Ophelia meets Hamlet in secret (her Dad and brother Laertes are none too happy about the dude) but tells her father about H’s crazy state. Polonius gives Claudius and Gertrude the heads-up, blaming H’s state on an ecstasy of love. At their next date, Hamlet kicks off at Ophelia, imagining all kinds of incestuous sluttery in his bonce, and insisting that she GET THEE TO A NUNNERY. Niiice.

Hamlet decides to stage a gig (play-within-a-play: Shakey 101) re-enacting his ol’ man’s murder, reckoning he can determine Claudius’ guilt by eyeballing his reaction. After seeing the Character-King murdered with poison in the ears (I told you —aurally), Claudius abruptly fucks off for a bit: PROOF! (It’ll never hold up in court, mate.)

Gertiebaby summons Hamlet to her boudoir (as y’do … bit icky, mind, but whatever). On his way, H passes Claudius praying his little arse off but lets him live, reckoning that death in prayer would send the twat to heaven rather than to the hell he so richly deserves. Hamlet and his Ma have a barney. Polonius, earwigging behind a tapestry, squeaks (or something like that) and Hamlet, believing it to be Claudius, gets a bit pissy and a tad stabby, killing said tapestry. And Polonius. Oops.

Ghostie comes back, nagging H to take Claudius out. Coz, yknow—he got it A BIT WRONG last time, the clumsy fucker. Gertie, blind and deaf to the spectre, is by now pretty certain her son has lost the proverbial plot. Ham hides Polonius’ DB; and Claudius, shitting himself, banishes Hamlet to save his own skin (but not before re-deploying his two spies).

Demented, Ophelia wanders around in bawdy banshee-mode. Claudius convinces Laertes that Hamlet is entirely to blame for all the death and all the crazy.

News arrives (as is often the case) that Hamlet’s badassery is still a threat, so Claudius concocts a fencing match between Laertes and Hamlet, with—GET THIS—poison-tipped rapiers (with a side order of equally bedrugged wine—gotta have a contingency plan).

Gertie reports that Ophelia has drowned. Two conveniently-placed gravediggers discuss her apparent suicide, all the while digging her imminent six-feet-underness. Hamlet arrives with Horatio and one of the gravediggers unearths the grinning skull of a jester. You all know the quote. Or you all THINK you know the quote.

Ophelia’s Laertes-led funeral procession approaches (they organised ‘em pretty quickly in those days). He and Hamlet have a bit of a go at each other but are swiftly told to knock it off.

Hamlet tells Horatio that Rosencrantz and Guildenstern are dead (they have to be. They made a movie about it). He also details his escape, just so WE know Horatio knows …

With Fortinbras’ Norwegian army closing in, it’s Face/Off. It’s time for H and L to fence, grunting and sweating under their weary lives. Laertes pierces Hamlet with a poisoned blade but is fatally wounded by said weapon. Gertie accidentally drinks the poisoned wine (coz reasons) and rushes into the secret house (where she snuffs it). Just before he kicks the bucket, Laertes reveals Claudius’ dodgy death plot to Hamlet. Just before HIS expiry date (keep up, double-oh-seven), Hamlet manages to kill Claudius and names Fortinbras as his heir. Fortie orders Hamlet’s body be borne off in honour. Here’s the rub: (almost) everybody dies. Nobody wins*.

(*Except maybe Norway. It’s one-nil to Norway. Ish. Kinda. Not really. Maybe. I’m confused.)

Thou know’st ’tis common; all that lives
must die; passing through nature to eternity.

^Except for Billy Bob Shakespeare, of course, who gets to live forever. Sigh.