hradzka: (wtf)
I've been cautiously curious about ELEMENTARY, the American version of a present-day Sherlock Holmes, starring Johnny Lee Miller as Holmes and Lucy Liu as Watson. I'll watch Liu in almost anything, but my first reaction to her being cast as Watson was that she would make a far better Holmes because Liu is great as chilly, remote, and cruel, but her screen persona doesn't do warm and sympathetic. She's magnetic, and you love *watching* her characters, but you don't love her characters as people very often. But I figured I'd tune in to watch her, anyway.

Then I saw the preview trailer. It's ghastly.

Here it is. Also, comparative BEAUTY AND THE BEAST stills. )
hradzka: Crixus, from SPARTACUS: BLOOD AND SAND, labeled "Hello, my name is Crixus. I'm your woobie." (crixus woobie)
So, apparently one of the finalists to become a contestant on the new season of mixed martial arts contest/reality show THE ULTIMATE FIGHTER has starred in hardcore gay pornography.

To the people that know him best, Dakota Cochrane's secret wasn't a secret at all. It's not something he kept from prospective business relationships, either. As his mixed martial arts career took off, his friend Kirk Schuster, who was looking after his career, would often receive phone calls from other management companies about representing Cochrane. They would try to woo Schuster with promises of a UFC contract for Cochrane.

Do me one favor, Schuster would tell them, Google his name and call me back if you're still interested. A return call never came. Not once.

Everyone has a past. But in the testosterone-filled sports world, Cochrane's past proved impossible to outrun. What he describes as a temporary lapse in judgment from his college days continues to revisit him. It did again this week, shortly after FX announced that he had been chosen as one of the 32 finalists that will compete for a chance to be on that network's first season of The Ultimate Fighter. Within 24 hours, the news was all over the MMA blogosphere: while in college, he had participated in gay pornography.


Cochrane says he was gay for pay; he's engaged to be married now and has two children. It remains to be seen what broadcasting network F/X will make of it, or if he'll be chosen to be on the actual show. They have to be nervous about fan reaction, and the attitudes of sponsors and other fighters (former champ Brock Lesnar made some famously nasty anti-gay remarks and stayed top dog until he was revealed to be just a bully who never really learned to take a punch), but comments on the article are surprisingly supportive, and UFC President Dana White has expressed his hope that gay athletes in the organization will come out of the closet. So we'll see what happens.

ETA: via [personal profile] hjcallipygian, my resident MMA guru, some more links on the subject, with commentary from Dana White:

"I'm not out here trying to make something like, 'We're going to make friends with the gay community. We're going to do this and that,'" White said. "It is what it is. The guy was in a gay porn. Whether he's gay or not gay, I don't give a [expletive] one way or the other. I don't give a [expletive]. It doesn't matter. He's a good fighter. He made it into the house on his fighting skills and what he's accomplished."


"Of course I knew. Listen, the kid’s a fighter. He did what he did. He didn’t break any laws, he didn’t do anything illegal. When we do background checks on guys, we look for stuff that’s illegal, we look for criminal stuff, we look for stuff we just don’t like. " (Video)


Finding that stuff doesn't automatically *exclude* anybody, mind. Quinton "Rampage" Jackson lived up to his nickname with a stint that saw him nearly get shot by cops after a mad chase in which he caused a car accident that led a woman to suffer a miscarriage, and he had continuing success in the UFC and a big-budget movie role. But it's interesting to note that being in gay porn doesn't fall under stuff that the UFC "just doesn't like." At least, they don't dislike it *enough.* Interestingly, I just realized that they've canned a number of ring girls when it turned out said ring girls had done porn or naked shoots, though there may have been issues of disclosure there. (A non-UFC promotion, on discovering that its ring girl did porn under another name, essentially responded, "Hey, more power to her! What name was she using again?")
hradzka: Cassidy, from Garth Ennis's PREACHER. (Default)
A friend came over the other night and we watched a few episodes of BABYLON 5. She'd seen later episodes, but had missed the earlier ones. I was a HUGE junkie for B5 back in the day, and so we watched four episodes from the first season over the course of the evening. (For the record: "Midnight on the Firing Line," "Parliament of Dreams," "And the Sky Full of Stars," and "Signs and Portents.")

Back in the day, you were either a B5 person or a DS9 person. I was a B5 person. I *liked* DS9, mind you, but Paramount money and guaranteed viewership was behind it, so it had more resources. B5 was the little show that could. And it was ambitious as hell, despite the fact that in its first season it sometimes appeared to have a budget of roughly thirty-five cents. Long-term arcs are standard fare on TV today, but they were out of the ordinary on SFTV, and B5 took long-term planning to a level that no television series had ever attempted. And they haven't, since. Shows like THE WIRE and THE SOPRANOS take a different, looser approach, and shows like LOST inevitably fall apart because it's really just tap-dancing until the next angle, the next gimmick. In some ways, B5 is less wondrous than it was at its peak, because we've seen so many running and recurring plotlines on SFTV. It's become the norm. But there is something that B5 did that has *not* been picked up nearly as much: its use of foreshadowing and repeated imagery. Characters called shots five years in advance. Scenes called back on scenes from previous seasons in ways that you wouldn't notice unless you'd been watching the whole time. The only show I've seen since that played with that kind of thematic reverberation to anywhere near that degree was THE WIRE. You really don't see it on mainstream SFTV, maybe because producers are more interested in going straight to the well.

I wish some showrunners would do more stuff like that. But it would be hard to do something like B5 again. I saw JMS in person a number of times during the show's run, and I was at a con in about year four or five when somebody cued up a pitch videotape that JMS and Doug Netter had put together when first trying to sell the show. Everybody in that room had seen JMS in person a bunch, too, and when the camera cut to him on the promotional footage there were audible gasps. Because he looked so much younger than everyone was used to, it was *scary.* Running BABYLON 5 had visibly aged JMS about fifteen years, in five.
hradzka: Cassidy, from Garth Ennis's PREACHER. (Default)
Catching up on a little TV. TORCHWOOD: MIRACLE DAY is not great: oh, look, another series about how our society is its own worst evil, *I have never ever seen that before.* Hell, I saw this on TORCHWOOD last season, only there it was done more effectively and with fewer cardboard characters and ham-handed cliches. Nazi retreads, Uncle Rusty? Really? You can't do better than that? You did, last year!

(It doesn't help that I'm finding John Barrowman increasingly irritating as a performer; there's being cocky and fun and there's being a preening jackass, and Barrowman is looking likely to peg the meter on the preening jackass end of the scale. Best thing about the show so far is that it's introduced me to Ciera Payton, who's got a bit role as a secretary/mistress and who is *hot like fire.*)

ALPHAS has more ups, I think. It's an uneven show, but while the pilot is clumsy and ineffective the series gets better from there. It does a pretty decent job of giving all of its characters stuff to do, and given its budget it has some creative action bits. I'll keep watching because I like co-exec Robert Hewitt Wolfe and actor Malik Yoba, and I want to see what the show'll do. The biggest downside so far is that I find team leader Dr. Rosen to be kind of a dick. He's especially creepy with the team's super-sensed investigator, to whom he comes off as not so much paternalistic as like a high school guidance counselor who can't tear his eyes away from the front of a girl's sweater. It really makes me not like him much. But we'll see where the show goes.
hradzka: Cassidy, from Garth Ennis's PREACHER. (Default)
I had two thoughts on hearing of Osama bin Laden's death. The first was: "FUCK YEAH!" My other thought was, "A Navy SEAL killed Osama bin Laden? OMG John Ringo can PREDICT THE FUTURE."

The road to this point was a long one. Reportedly, the US found this place by tracking a courier, whose nickname first came to light in detainee interrogations years ago, and about whom more data slowly amassed until we had his whole name, area of operations, and finally residence, which turned out to be Osama Central. Congrats to President Obama, the operators, and the intelligence folks on a job very well done. I thought the President's speech afterwards could have been better, but it must have been a very strange moment for him; he gave the order for a specific human being to be killed, and a couple of days later, it was done. It was Osama bin Laden, but my impression of Obama is that he's the kind of guy who still would be a little bit freaked out by that. His presentation was always as a transformative figure; he's a natural inspirer, rather than a natural leader, and has never seemed comfortable with wrangling people, unlike Bill Clinton and LBJ, two presidents who *looooved* it. And the one time since his election that Obama says "Do this!" and it happens pretty much perfectly and it's something big that matters and that people will remember him forever for, it's killing a guy. That's got to be a little odd. The way he emphasized himself in his speech was a little odd, too: he insisted on it being a priority, he was briefed, he made the decision. That speech was his "MISSION ACCOMPLISHED" banner; as we all know, the question is what comes after that.

Among all the news and commentary (my favorite being the guy from Lahore who went to Abottabad to get away from it all, who unknowingly became the first person to cover the story when he bitched about helicopters on his Twitter), I've been surprised to see a few commentators making discontented sounds about Americans being publicly happy that Osama bin Laden is dead. Some folks even thought it resembled people celebrating over 9/11 itself. I was reminded of those 9/11 celebrations, too, but purely for contrast: Americans got together to celebrate the death of one guy who deliberately murdered over 3,000 people in a single morning and was sorry it wasn't more. The people who danced in the streets on 9/11 were celebrating the murder of over 3,000 people, and wishing it had been more. There is not so much a moral difference between the two as a moral *gulf.* I haven't forgotten that people danced in the streets over 9/11, and I'm never going to.

The big implications over the next few days are for our relationship with Pakistan. President Obama made lip service to Pakistan's cooperation, but the administration didn't tell Pakistan about the intel or the raid, and that says volumes. What says more: Abbotabad is a bit of a tourist town. It looks like an interesting place to visit; here are some pics from Flickr, if you want to get an idea of what it's like. ABC News originally reported it was 40 miles from Islamabad, but it's actually closer to eighty, so it's about as far from Pakistan's capital as Front Royal, Virginia, is from DC -- a two or three hour drive. It's also a big military town; Pakistan's War College is there. Osama wasn't in the sticks; he was right in the center of everything. As somebody looking at real estate, I'm honestly jealous of his location. There was a bus stop on the corner. There were hospitals and a college nearby. He was in the middle of everything, in a huge house with a giant wall, valued at a million bucks. I don't know if the US will make a stink about this or not (I'm guessing not, though WE DAMN WELL SHOULD), but it's extremely clear that several very big somebodies inside Pakistan knew *exactly* where Osama bin Laden was, and were sitting on that knowledge.

(Incidentally, as long as President Obama is killing people in Pakistan, may I recommend Abdul Qadeer Khan? "House arrest," my ass.)

And on a completely unrelated note: I just watched a promo vid for HAWAII FIVE-O. How the hell do you folks tell McGarrett and Danno apart? Their faces are so similar that the only way I can distinguish them is if it's a long shot, because McGarrett is quite a bit taller.
hradzka: Cassidy, from Garth Ennis's PREACHER. (Default)
Well, it's sure blue. The effect isn't as consistently bad as I'd feared, in part because the producers ramp it up at moments of tension. The closing part of the pre-credits sequence was so murky it was hard to make out. Most of the scenes in Winterfell weren't terribly obtrusive, though I would have liked the show's aesthetic much better without them. Call me old-fashioned; I like colors,I like being able to see what's going on in the shot, and most of the color correction aesthetic we see today makes me think of action movies I'm not supposed to take very seriously. Except the pilot is slow and building up characters because it wants us to take them very seriously. I'm not feeling it so far, with a few exceptions.

The credits sequence is GREAT in terms of visual interest and information conveyed, but still annoying because the coloring and tilt-shift gets in the way of the awesomeness. (More the coloring than the tilt-shift.) Jon Snow doesn't set me on fire -- I understand the production need to age the kids, particularly Daenerys, up, but aging kids a few years really changes the dynamics in a lot of places, and other than Daenerys (in whose case I'm quite grateful), there's no character whose dynamic is changed by aging them up as much as Jon Snow. Going to the Wall and having your illusions destroyed at seventeen is rough; going to the Wall and having your illusions destroyed at fourteen is *catastrophic.*

I was really happy to see Peter Dinklage as Tyrion, though. I've been a huge fan of Dinklage ever since THE STATION AGENT, and he's every bit as wonderful as I'd expected, and he's *different* from what I expected. It's great.

I'm looking forward to seeing Littlefinger, and finding out what the actor's like. I always cast Littlefinger as the young Claude Rains.
hradzka: Cassidy, from Garth Ennis's PREACHER. (Default)
Based on the footage released thus far, I’m getting a sinking feeling that HBO’s GAME OF THRONES series is going to suck.

I’m not saying this lightly. I’ve been looking forward to seeing this series filmed for years, and I’ve been looking for George R.R. Martin to get an awesome Hollywood victory for longer (we couldda had DOORWAYS!). The ingredients for excellence are there, because HBO has not been stingy, and the series producers have clearly gone to considerable amounts of effort: hordes of extras, huge detailed sets, a costuming budget larger than the budget for some films. Casting is remarkable -- PETER DINKLAGE as Tyrion! Mark Addy as Robert Baratheon! Sean Bean as Ned Stark!

And there's a good chance none of it’s going to matter, because the filming is absolute shit.

Here's what I mean. )
hradzka: (facepalm)
Jesus fucking Christ on a pogo stick.

Spoilers. )
hradzka: "Trust me, I know what I'm doing." (sledge hammer!)
Up at Ma's. Long driving always makes time a little nebulous for me, especially if I do the trip in stages (which I did); I come out the other side not quite knowing when it is anymore. I realized now that it's early Thursday morning, which means that SPARTACUS episode 11 airs tomorrow, which ordinarily would give me cheerful anticipation of complete insanity -- except I'm not thinking about it at all, because DOCTOR WHO is back on Saturday, and we're getting thirteen weeks of a new Doctor, a new companion, a new showrunner, and (I'm certain) a new explosion of fan activity. There's a couple of weeks of overlap, but the thirteen-week seasons of SPARTACUS and DOCTOR WHO are neatly arranged for my convenience! TV should do this *all the time.*

Brainwave: TV SHOULD DO THIS ALL THE TIME. Don't have one TV season. Have four. Go to the thirteen-episode season model for dramas (I haven't cared about a sitcom since SLEDGE HAMMER! went off the air), and have four seasons with a few new shows in each. If the fates align, I could have one new hour of entertainment every week.

2010 is actually kind of close to that. It started off with SPARTACUS, which is, yeah, okay, *not good* but it is relentlessly entertaining and I am getting considerable mileage out of it. Now, with very slight overlap, it's DOCTOR WHO, for which I have high hopes. DOCTOR WHO will run until the summer months, which is when LEVERAGE (not a good show, but a passable timekiller) is back. In the fall... something? I don't know. Maybe something will come along. But the possibility of having a year pass like this is pretty remarkable.
hradzka: Cassidy, from Garth Ennis's PREACHER. (Default)
The two shows I am actually into at the moment are SPARTACUS and I DREAM OF JEANNIE.

Now you know the depths of my shame.
hradzka: (wtf)
Have you guys noticed that fandom wants a bunch of incredibly contradictory things?

Fandom wants unbreakable, unshakeable friendships that are deep and complete and true, and fandom wants intense love-hate relationships that aren't so much mature as fraught. Fandom wants characters of color in interesting roles, but often ignores them and writes endlessly about the pretty white boys. Fandom wants women in strong roles, but doesn't want them getting in the way of the slash. Fandom, in short, is absolutely bugfuck, which is why it's at its own throat every other Sunday.

Well, there is one show that has pretty much *everything* fandom has been clamoring for, God help it, and it is SPARTACUS: BLOOD AND SAND.

No, the show is not actually any good. This has never stopped fandom before.

SPARTACUS is, I repeat, a pretty crap show. But it has a stoic, intense, emotionally unavailable hero who has a protective, emotionally supportive, and physically contrasting male best friend; it has a hero who has nothing to do with the women, because they are physically separated and because both the powerful female leads hate his guts, so the women literally *cannot* get in the way of the slash; it features two socially powerful women who make no bones about seeking out their own sexual satisfaction, often graphically; it has male-on-male sex, portrayed as part of a devoted relationship; it has a fairly diverse cast of actors who originate from Ghana, Australia, Lebanon, and more; it features slavery, which becomes a fanfic AU for *every* fandom, as an integral component, with powerful women using men as sex slaves; and it has a ton (quite literally, at least 2000 lbs worth) of well-muscled men who walk around for whole episodes wearing nothing but loincloths and baby oil. Sometimes they forget the loincloths.

Fandom, are you sold yet? This primer, with pics, may help; it is, like the show, NOT SAFE FOR WORK. )
hradzka: Cassidy, from Garth Ennis's PREACHER. (Default)
In the event anybody cares, my Twitter review of SPARTACUS: BLOOD AND SAND's fifth episode, "Shadow Games." In this one, every single other character is *yet again* more interesting than Spartacus, Manu Bennett whips his cock out more often than not, and at least half the scenes are populated entirely by nearly naked musclemen who have been thoughtfully slathered with baby oil. Also, Spartacus and Crixus (that's Bennett) fight a guy who got lost on his way to an Evil Dead movie, and Lucy Lawless and Viva Bianca go cheerfully along their way to steal the entire series, which continues to be both ridiculously entertaining and *absolutely no good.*

Seriously, why there is no fandom for this drek, I have no idea.

Tweets below. )
hradzka: Cassidy, from Garth Ennis's PREACHER. (Default)
I think I may have to write a series primer on SPARTACUS: BLOOD & SAND. Yes, it's a gloriously stupid show, but I don't think I've ever seen a series that throws so much bizarre stuff into the mix. Seriously, this show is now at the point where Lucy Lawless could enter a scene on a chariot drawn by naked ponyboys with bioluminescent penises and I'd go, "Yeah, okay, I am not surprised by this."

It is, in short, exactly the kind of terrible show that I think fandom would love, because it contains pretty much everything fandom adores, no matter how stupid it is.

My Twitter review of episode 4. )
hradzka: Cassidy, from Garth Ennis's PREACHER. (Default)
If you don't follow me on Twitter (I'm hradzka there, natch), you may not have noticed that I have an occasional vice.

Namely, I watch SPARTACUS: BLOOD & SAND.

It's a gloriously terrible show, and when I'm feeling low, I like to watch it via streaming Netflix and make fun of it on Twitter. Because, really, it's only worth 140 characters at a time. So, for those who don't Tweet, here are my Twitter reviews of episodes 2 and 3 of SPARTACUS: BLOOD AND SAND.

Read more... )
hradzka: (snoop)
Last night I discovered that SPARTACUS: BLOOD & SAND was available via Netflix streaming, which is how I watch most of my entertainment these days. Maurissa Tancharoen has been plugging it to her Twitter followers because she and the hubby have made it their new gig. So I checked it out.

SPARTACUS: BLOOD & SAND is not only bad; it is gloriously, ridiculously, marvelously ludicrous, dumb as a box of rocks, ludicrously overstylized, and very much in the vein of GLADIATOR and 300 (mostly the latter with elements of the former). It's an oversized golden retriever pup of a show; not a brain in its head, but it's so desperate to please that you can't really stay mad at it.

In summary: my Tweets. )
hradzka: (303 british)
So I started watching LEVERAGE (thank you streaming Netflix). It's not my type of show, but I see why it's caught on with fandom, because the cast and characters are winning enough. Well, sort of; I quite like Hardison, Parker, and Eliot, and would happily watch their show, but could care less about Nate and Sophie, despite quite liking Gina Bellman. The show feels too much like TV to me -- too stagey, too formulaic, too smug and sure of itself. It doesn't have a sense of tension, which is sad because the terrific pilot did. Seriously, I know it's hard to do plots and cons and switchbacks on a weekly basis, but the pilot really felt like its own nifty animal, while the series feels like the inevitable TV knockoff. I think Livia nailed it ages ago when she said that it felt like the show jumped to happy and shiny too soon; the characters don't feel like real individuals so much as they feel like individuals whose first obligation is insuring the perpetuation of the TV series. Which, of course, they are, but it shouldn't be so transparent.
hradzka: (303 british)
"The End of Time, Part I" is quite possibly the single stupidest thing that has ever aired on DOCTOR WHO. And as any longtime Whovian knows, that's saying *a lot.*

It is still an order of magnitude smarter than the first season of TORCHWOOD.

I have a hell of a lot of respect for RTD for what he has accomplished with the show, but I think his leaving WHO will be good for the show, and for him. I've thought for a little while now that Davies is developing the same problem as a writer/producer on WHO that Joss Whedon developed as a writer/producer/director on BUFFY THE VAMPIRE SLAYER; in a lot of Whedon's directed episodes, it was clear that he was thinking about his future career as much as or more than he was thinking about doing an episode of BTVS. Seriously, if you watch the eps Wheson directer there are times you get a mental picture of him running down a checklist: crane shot! exotic location! screw with time! Great Director Homage! etc. Davies is doing the same thing, but it's not visuals: he has been trying to demonstrate that he can do Event Movies. And he can, unquestionably; but that's the sort of thing that when it works, you're giddily transported, and when it doesn't, you're left feeling stupider for the experience. Chalk one up for "feeling stupider."

(I've suspected this of other filmmakers, too; I came out of this summer's big-budget GI JOE movie convinced that the reason that accelerator suits are in the movie is that the director wanted to show he could do a superhero movie, so he put a superhero chase scene in as best he could. And it's a great superhero chase scene.)
hradzka: Cassidy, from Garth Ennis's PREACHER. (Default)
Watching Stephen Moffat's JEKYLL. I'm only a couple episodes in, and it's alternately terrific and disappointing. The casting is great, and the Grand Moff does a great job of laying suspense for the Jekyll/Hyde transformation: at first, you see everything from the point of view of Tom Jackman, the Jekyll figure, so when he blacks out and doesn't know what happens, neither does the audience. It's really effective. And Hyde is nicely done; the changes are subtle, but they're there, and those and the lead's body language do a great job of

That said, it's disappointing because the opening scene brilliantly sets up an absolutely awesome dynamic, and a gimmick that's really quite good -- and then we wind up with a conspiracy story. There's a story about Prof. Hugo Dyson, who was the curmudgeon of J.R.R. Tolkien's readings to his fellow faculty members; Tolkien would be weaving this wondrous scenario, and bringing on new fantastic beings, and from the depths of his armchair, Dyson would grunt, "Oh, Christ, not *another* fucking elf." That's pretty much how I feel about conspiracy stories. Moff, you had me with Jackman and the hot psychiatric nurse! There's no need to bring black vans into it!

I'll probably watch the rest, but it's not setting me on fire. Sort of the equivalent of Moffat's library episode of DOCTOR WHO; it was really good, mind, but after the garking brilliant "The Empty Child/The Doctor Dances" and "Blink," it didn't make much of an impact on me.
hradzka: (pepper)
Or at least part of it, and I have to say, um. Well, I can see why the slash fans leapt aboard it with cries of delight, but it is pretty much exactly the opposite of everything that appeals to me.

I definitely am developing a serious aversion to young'n'pretty. I don't mind reasonably attractive actors, but good God, does everybody have to look like a model? Give me some faces with character for a change. Or older people who aren't Botoxed into oblivion. Hell, at this point I'm starting to wish somebody would make an action movie with Linda Hunt and Kathy Bates.

(They're retiring cops who worked behind desks their entire careers, and they've seen the opportunities for women change drastically over the years but the change only really got started when they were too advanced in their career tracks to benefit. Now, as they're retiring, they see the young women coming in getting all manner of cool, exciting action-packed assignments and wish they could've done that. As a last hurrah, they talk one of the young action chicks into letting them have a ride-along, and ACTION ENSUES.)
hradzka: Cassidy, from Garth Ennis's PREACHER. (Default)
I quite forget who on my flist was posting about THE MRS. BRADLEY MYSTERIES, but your enthusiasm was such that I put 'em on my Netflix queue. Finally arrived, and watched, and I have to say: tee-riffic. Thanks much for the rec; they're laid-back, genteel, and remarkably adorable.

For those unfamiliar: Diana Rigg is Mrs. Bradley, a wealthy, long-divorced woman who is slightly notorious for helping out and lecturing to the police (she has written on psychology, toxicology, and prison reform). She dresses sensationally, makes acerbic remarks constantly, and frequently makes asides to the camera. Like any fictional detective, people have a tendency to get murdered around her, and she investigates the crimes with the help of her chauffeur, George Moody (Neil Dudgeon), who is twenty years her junior but seems to be mildly jealous of Inspector Christmas (Peter Davison), who is closer to George's age than Mrs. Bradley's but nevertheless flirts with her constantly. For her part, Mrs. Bradley is warm to both of them, and occasionally maneuvers circumstances so she can see George very much out of uniform. In the interests of justice, of course.

The characters are warm and witty, and the mysteries are nothing fancy -- they're rather strained at times, actually -- but they're fun, and it's definitely an enjoyable dynamic, suitable for ripping off or updating (the series is set in the 1920s or 30s). It's a very nice cup of tea.

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A POEM EVERY DAY

The collected poems from my descent into madness year spent writing daily poems are now available from Lulu as the cheapest 330-page book they would let me make ($16.20). If that's too pricey, you can also get it from Lulu as a free download, or just click on the "a poem every day" tag to read them here. But if you did buy one, that'd be awesome.

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