On Chris Cuomo’s near-altercation today.

I like Chris Cuomo. I think he’s a good man and a good journalist.

And I feel awkward agreeing with anything uttered by that swollen orange cyst in the Oval Office. (It’s due to a Russian infection … an STD from when they f***ed with our electoral process.)

But Cuomo shouldn’t have physically threatened a man who called him a name.  (You can find video of his near-altercation today with a heckler right here.)  I have actually never heard the term “Fredo” employed as a slur against Italian Americans, and I’m from New York. But that’s really beside the point anyway — the severity of the insult isn’t the issue here.

To me, this is a straightforward free speech issue. The nature of the Trump supporter’s act of speech was nonviolent. Whether or not is was obnoxious doesn’t matter.

The threat Cuomo made against his detractor was explicit and credible. He threatened to “throw [him] down these stairs,” which were presumably nearby.

Suppose that I call Donald Trump “Benedict Donald” (the obvious play on “Benedict Arnold” that has been making the rounds on the Internet for a long time now). Or consider me calling him a “swollen orange cyst” above. Should Trump or one of his supporters have the right to threaten to “throw me down the stairs?”

I know it sucks, but those of us who oppose or criticize Trump need to hold ourselves to the same standards to which we subject the other side — that is, if we wish to consider ourselves free speech advocates. I’m just trying to be intellectually honest here. If we support free speech across the board, then we have to support all of it.

On a related note, I see that Sean Hannity defended Cuomo on Twitter, and said “he has zero to apologize for.” This strikes me as particularly gracious gesture on Hannity’s part — crossing the cultural divide to support another journalist. And here I am being a stick in the mud.

All of my admitted emotional biases are confused here.

 

 

“Lilac, Wine, Pomegranate, Black,” by Eric Robert Nolan

This new mountain night
drains the waning day in violets.
Light declines to lilac, wine, pomegranate, black —
another plum-colored
sunset over Roanoke.

(c) 2019 Eric Robert Nolan

 

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Variant cover to “Hail Hydra” #1, Juan Doe, 2015

Marvel Comics.

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(Yeah, so I’m an influencer now. Send me free steaks.)

Why am I going nuts every night for Banquet brand Salisbury steaks from the frozen food section? It just seems like such an unlikely addiction.

But I just can’t defrost the succulent little bastards fast enough.

I’d probably be shooting this gravy right into my veins, but then I couldn’t taste it.

Mmmphf mff mmphf.

DAMN FINE PRODUCT.

 

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A short review of “Killer Klowns From Outer Space” (1988)

“Killer Klowns From Outer Space” (1988) is generally a bad movie.  It has the depth and execution of a mediocre high school play; its acting and screenwriting are almost uniformly poor.  (The sole exception here is the wonderful character actor John Vernon, who is always fun to watch.)  I’m not even sure it tries to be a good movie.  But that’s probably okay with both the filmmakers and its target audience — as you can tell from its title alone, this is deliberate schlock.

And … it’s arguably pretty good schlock, despite its failings — depending on your tastes in bad movies.  I don’t think I’d recommend this movie to others, but I suppose I’d rate it a 6 out of 10, based on my own enjoyment.  In addition to its generous helping of 80’s cheese, “Killer Klowns From Outer Space” manages to do several things quite beautifully — namely its low budget creature effects, costuming and set design.

For a film so clumsily unimpressive, you’ve got to admit that a hell of a lot of creativity went into its titular monsters and their spaceship.  (They are not human clowns, the movie informs us, but alien monsters in the shape of clowns — and we don’t get any more exposition than that.)  The garish, creepy art designs are actually really damned good, and it’s easy to see why this film developed a cult following among fans of offbeat horror.  It’s also easy to imagine that coulrophobics (people with a phobia for clowns) might find this movie genuinely unsettling.

Here’s the good news — if you aren’t sure you’d want to spend money on this movie, you can currently watch it for free (and legally) right over at Youtube.  Here’s the link.

Postscript: I thought that Grant Cramer, who played one of the movie’s protagonists, looked incredibly familiar.  Yet I was surprised when I learned I hadn’t seen anything else in his filmography.  Here’s who I may have been seeing — he is the son of none other than legendary starlet Terry Moore.  Classic movie fans might remember her from any number of films from Hollywood’s Golden Age.  But if you’re a monster movie fan like me, then you remember her as the young heroine of 1949’s original “Mighty Joe Young.”

 

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Eric Robert Nolan reads William Shakespeare’s Sonnet 30

When to the sessions of sweet silent thought
I summon up remembrance of things past,
I sigh the lack of many a thing I sought,
And with old woes new wail my dear time’s waste:
Then can I drown an eye, unus’d to flow,
For precious friends hid in death’s dateless night,
And weep afresh love’s long since cancell’d woe,
And moan th’ expense of many a vanish’d sight;
Then can I grieve at grievances foregone,
And heavily from woe to woe tell o’er
The sad account of fore-bemoaned moan,
Which I new pay as if not paid before.
But if the while I think on thee, dear friend,
All losses are restor’d, and sorrows end.

 

Cover to “Black Mirror” episode “Men Against Fire” (S3E5) original score, 2017

Invada Records.  The artwork employed for this cover was created by Billy the Butcher.

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His last landing.

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What is it like approaching midlife in the South?

You sit down at precisely the same time that your neighbor fires a gun off at 2 AM, and you wonder with panic whether the sound you just heard was you blowing out a knee.

True story.

 

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Cover to “Arkham Asylum: A Serious House on Serious Earth” 25th Anniversary Deluxe Edition, Dave McKean, 2014

DC Comics.  McKean’s art illustrated the seminal 1989 graphic novel written by Grant Morrison (republished here five years ago in a deluxe edition).  The modern video game, “Batman: Arkham Asylum,” is only loosely based on the book.  It is easy to confuse the two because the original graphic novel is also alternately called “Batman: Arkham Asylum.”

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Nurse Your Favorite Heresies in Whispers