Wherin I Explain Why “The Last Jedi” Kicked Ass

Okay, y’all are really starting to piss me off.

Not you, of course. I’m sure my readers, reader, potential reader is awesome with the correct opinions.

I’m talking to all the rest of you. You idiots that didn’t like The Last Jedi.

Seriously, I had just finished writing a wonderful polemic about my childhood friend, Rian Johnson, and his most recent film, which happened to also be one of the best Star Wars movies of all time. While writing it, I was unaware of a burgeoning counterpoint. Evidently, some people were deluded into thinking it did not deserve the G.O.A.T. (Greatest of all Time) designation.

I heard some initial rumblings over opening weekend. The Rotten Tomatoes fan score was middling around in the low-fifties, but it seemed a lot of those reviews had come in before the movie actually opened, and there were rumors of bots intentionally messing around with the score. Certainly, I knew, when real people took to their respective social media outlets, they’d all love it.

But as first the weekend, and then the following week, went on, there seemed to be a very distinctive backlash against The Last Jedi. The actual size of the backlash might be hard to discern. Two weeks in, I still believe it is a very vocal minority that is being given extra media attention based on how outlandish their cockamamie ideas are.

Recently, one of the yelly-yelly shows on ESPN wondered why people are still paying attention to the Balls, the basketball family whose middle kid dropped out of UCLA because they couldn’t single-handedly break him out of a Chinese prison. I remember thinking, “Who, other than ESPN, is paying attention to the Balls? If you don’t think people should be talking about the Balls, maybe stop leading with them every day.”

But considering the conversation amongst the Baby Boomers at my Christmas dinner table, I guess people are still talking about the Balls. And the Star Wars naysayers have also persisted. So now it’s up to me to defend a movie, and by extension a director, that shouldn’t need defending

The first set of people who seem upset with the movie are the political extremists. The right are pissed that Rose is Asian. The left is angry that Rose isn’t Asian enough. The right hates that General Hux is white. The left is pissed that Poe Dameron is white. The right isn’t sure if they like Kylo Ren as a bad guy, because he’s white but he kind of looks Jewish. If he’s Jewish, they’re okay with him being a bad guy, although they’re not too sure they like it when the maybe-Jew kills the Hitler-ish guy. That’s not how the Alt-Right believes Hitler/Jew stories are supposed to unfold. The left is upset that there are no LGBTQ characters. Holdo is, but it didn’t come up in the movie. Because it would’ve been so much more appropriate for her to grab Billie Lourd’s ass in the midst of the evacuation. Right in front of her dying mother, no less!

And don’t get me started on the force-sensitive little boy at the end. Both sides are whining, “Why did the slave have to be a white male?”

The fact that critics loved the movie pretty much sealed the ire of both sides, as well. Anyone who puts ideology ahead of facts hate the so-called experts who tell them things like the South lost the Civil War or that they should vaccinate their kids.

To both sides, I have a simple enough explanation: go fuck yourselves.

No seriously. Both of you have successfully ruined politics, humor, discourse, general civility, and pretty much everything else in our country. You just couldn’t leave Star Wars alone, could you? And be honest, you didn’t enter the movie with an open mind, did you? You went in looking for things that didn’t fit with your political alignment and proceeded to focus entirely on that. Were you aware that there was a movie with dialogue and a plot going on around all of those casting choices? Probably not.

Here’s something to assuage both sides. Alt-right: It was a long, long time ago, so it’s about as conservative as you can get. Socialists:  no planets were destroyed by human action this time.

Now go back into your corners of watching only war movies or Oscar-worthy dramas. And when you’re there, don’t forget to go fuck yourselves.

The other group that dislikes this movie did not approach it with an open mind, either. They are the people who have spent the last two years trolling around on slashfilm and other internet sites espousing their theories about the two great mysteries brought up during The Force Awakens, namely the backgrounds of Rey and Snoke. And if darthmaul-69-420 has based his entire online presence on Snoke being the love child of Palpatine and Yoda, and if he has Jar Jar as Rey’s parents in the office pool, he’s not going to be happy when neither answer is correct.

It’s an odd world we live in. People hate when questions are raised and they hate when those questions are answered. There were all sorts of petitions and calls to boycott The Walking Dead after they ended Season 6 with Negan killing an unknown character. HOW DARE YOU, they screamed, USE A COMMON STORYTELLING DEVICE? Would those people have been happier if the season ended with Abraham lying dead on the ground? Then the people who thought it would be Glenn would’ve been pissed, until Glenn was actually killed, and they would’ve been pissed again. The Walking Dead has been hemorrhaging viewers ever since that fateful decision to add some suspense to their story.

Westworld might have found the sweet spot, but that was helped by the fact that it was a little slow to catch on. It took a few episodes before people realized they were playing with timelines and putting clues and red herrings everywhere. By the time people started going back to re-watch the first few episodes for “clues” (aka the orgy scene), there were only a few episodes left and we had been promised it would be wrapped up by the end of the season. I’ll be curious to see how many people will be pissed off during the second season if it follows a similar pattern. Ten weeks might be a little long of a wait for the big payoff in this watch-an-entire-season-in-an-afternoon world we live in.

If Dallas aired today, “Who Shot JR?” would need to be solved the following week. Hell, if comment threads existed when Empire Strikes Back came out, the Rotten Tomatoes score would be filled with all sorts of “How can we even know if Darth Vader is telling the truth? How dare they bring that up if they’re not going to resolve it?”

Speaking of Empire, you are all aware that The Last Jedi is the second movie of the trilogy, right? Remember all of those questions and mysteries and mythologies of the first Star Wars trilogy? They didn’t really show up until the second movie, and then were resolved pretty early in the third movie. The first movie was a straight-forward, standalone fairy tale. If these people got their wish and Episode VIII started with a flashback of Snoke and Rey in a baby manger together, how satisfying would the next five hours of movie (counting Episode IX) be?

So the question of Rey’s parents was either going to be held over until Episode IX or it was going to be answered the way it was. And it’s very fitting. Anybody can be the hero, you don’t have to come from wonderful Skywalker sperm. Let’s not forget that in the original Star Wars (I know I’m supposed to call it A New Hope, but that was never really a thing until the prequels came out), Luke Skywalker was a nobody. And for ninety percent of Empire Strikes Back, too. Anakin started out that way, too, even if we already knew what he would become.

Speaking of Luke, that’s the other thing people are pissed about. They were hoping that Rey would show up, he’d say “Gosh, even though I have the Force, I had no clue my nephew is a bad guy or that the galaxy is in tatters. I had just retired here for shits and giggles. I guess I’ll come back, no questions asked.” Somehow that would have been more in line with his character?

Or maybe they just wanted Luke to sink an X-Wing into a swamp and mock Rey for not being able to raise it.

There had to be a pretty major reason he had exiled himself. To be true to the hero y’all seem to think he is, the best reason to exile himself would be if he felt he was bad for the galaxy.

Some people are pissed that the Extended Universe was retconned out of existence when Disney bought the rights. Those same people are now pissed that some of the things from that Extended Universe are being brought back into canon. In the Extended Universe, Luke briefly succumbed to the dark side, and he tried and failed to train Han and Leia’s son.

And if you think Luke should’ve been much more perceptive about Kylo Ren’s power or corruption, don’t forget he made a whole bunch of horrible judgments in the first trilogy. “I’m looking for a great warrior,” he said when he first met Yoda.

But whatever. “Not my Luke Skywalker.” Yeah, no shit. Your Luke Skywalker is now 65 years old. He’s Obi-Wan. He’s Yoda. He’s supposed to be a hermit that is not quite sure if the galaxy is ready for thenext generation of Jedis.

Back to Rey, have the people that are so pissed off really thought their theories trough? The two most prominent ones were that she was Luke’s daughter or Obi Wan’s granddaughter (which she may still be). How heroic does that make those deadbeat dads? Conflicted Luke is a bad thing, but Maury Skywalker would be great?

Sure, Anakin abandoned his pregnant wife, but a) Episode III retconned it so he didn’t even know he had done that, and b) he’s Darth fucking Vader.

Do we really want a movie where heroes with subtle mind-control powers are impregnating women and then skipping town? How awesome would that be on the heels of all of the sexual harassment and assault cases coming out of Hollywood and Washington this year? Not your Luke Skywalker? Of course not. He’s Harvey Weinstein’s Luke Skywalker.

I suppose in Obi-Wan’s case, there was the whole “hiding from Darth Vader” thing, but what excuse would Luke have? That he isolated himself on Ahch-To to avoid child support?

Again, I don’t know if the backlash is real. I hope it’s not. Everyone I’ve spoken to loved it. But everyone I’ve spoken to has an IQ and an ability to understand nuance.

A number of theaters have had to post a warning that the ten seconds of silence is intentional. People were complaining that the sound cut out, then cut back in. Really? Because in the theater I saw it in, there were a few gasps, followed by an awe-inspiring, simultaneous holding of two hundred breaths. It was probably the most collectively powerful scene I’ve ever seen in a theater of complete strangers.

I can’t imagine who saw that and thought “Hey, some shit just done blowed up, but there ain’t no big blowsy-upsy sounds. I want my money back.” These same people think that an entire theater’s-worth of speakers can go on the fritz simultaneously and then be fixed within ten seconds.

The simplest answer is that people wanted a predictable Star Wars movie and The Last Jedi was anything but. We’ve been indoctrinated, Empire Strikes Back notwithstanding, that there aren’t supposed to be surprises in Star Wars. The plot is supposed to follow a prescribed narrative. The missions aboard the First Order base of operations aren’t supposed to go sideways. The mercenary is not supposed to stay a mercenary. The bad guys aren’t supposed to realize there are cloaked escape ships. The force is supposed to have a very limited power set. And the hero must only come from an established, Eugenics-based bloodline that would make Hitler Palpatine proud.

People complained that The Force Awakens followed that narrative too closely, then they complained that The Last Jedi strayed from it. Welcome to 2017 America.

Now about that milking scene…

Thank God I’m Not Rian Johnson

(Note: This is a post primarily about Rian Johnson. To see my thoughts on “The Last Jedi,” click here)

Holy freaking schnickerdoodle. I just saw The Last Jedi. I might be a bit biased, but I think it’s the best Star Wars movie since, I don’t know, ever?

Oh yeah, spoiler alerts and whatnot. But seriously, you get what you deserve if you’re on the 17th page of Google results for Rian Johnson and The Last Jedi. 

It’s a long movie, but never feels dragged out. It’s longer than Revenge of the Sith, but feels about half as long. There’s so much going on with it. One review equated it to a combination of “The Empire Strikes Back” and “Return of the Jedi.” Yes and no. It certainly answers a number of lingering questions and ends with a sense of optimistic finality that hasn’t wrapped up any Star Wars movie since “Jedi.”

But it didn’t follow the plot of either Episodes V or VI, like The Force Awakens did with Episode IV. Luke’s tutelage on Ahch-To (had to look that one up. I just assumed, in normal Star Wars parlance, it was “The Island Planet”) wasn’t just a rehash of Yoda on Dagobah (The Swamp Planet). The porgs weren’t just updated Ewoks. They didn’t rally together to fight a paleolithic guerilla war against the bad guys.

That one battle that ends most Star Wars movies – you know, the giant battle raging in space while a bunch of the good guys are on board the enemy vessel that’s about to be blown up – turned out to NOT be the culminating scene. The guy we all thought was the new Emperor Palpatine, who would be killed in an orgiastic lightning-fest to end Episode IX, was in fact betrayed and killed during that battle. But it turned out Snoke’s death wasn’t what the movie, or even the trilogy, had been building toward. There were still another 45 minutes in the movie.

And holy shit, how about that “light speed the other way” scene? Has there ever been a silence for that long in any other Star Wars movie? Did John Williams have to be paid extra to NOT write music for that scene?

That “this is not the ending you are looking for” is a classic Rian Johnson tactic. His other movies tend to play along according to form, then the last half-hour pushes the film into another realm, bringing into question all of the assumptions of the trope. The Brothers Bloom, which I think is his best, follows a typical con-man/heist formula. Had it faded to black on the beaches in Mexico, it would have been a standard con-man movie. But then there’s the whole Russia scene, where the target has tracked down the brothers because she had so much fun being conned. When they set up one final con, you’re not entirely sure who is scamming whom. When Adrien Brody realizes Mark Ruffalo actually died, there’s an emotion that isn’t supposed to be experienced in a heist.

Oops. Brothers Bloom spoilers, too. Sorry.

Then again, I might be a little biased when it comes to Rian Johnson. I know the guy. We went to high school together.

The bum still owes me twenty bucks, so his movies better succeed!

Just kidding. He doesn’t owe me any money. In fact, I’m pretty sure I accidentally stole his copy of “Woman of the Year” (1943) on VHS. Rian, sorry if you’ve been looking for a clean copy of “Blitzwolf” all these years.

The rest was all real, though. Rian and I went to high school together. And when I say that, I don’t mean he was some random guy that I knew the name of as we occasionally saw each other around a huge campus. We were in the same history and English classes from pretty much seventh grade on. We hung out outside of class.

When people ask me “Why are you the Wombat?” my go-to response is, “Because Rian was the Llama.”

Rian had a video camera. Shocking, right? We made movies together. Sometimes it was random. I think my first “Rian Johnson Project” was at his birthday party freshman year. I don’t recall the premise, other than we were breaking into a house and I was some sort of James Bond villain that used utensils as weapons. I think. I could be totally off.

But that was what Rian did. If he was with more than one other person, it was, “Hey, let’s make a movie.”

Where we really grew together, and where he started showing his directing chops, was 10th grade English. I don’t know if I would’ve passed Mr. Neidhardt’s class without Rian and his video camera. We had to do a project for every book we read. There were other options besides “make a video,” but those options are lost to time. Probably write a report? Papier mache? Interpretive dance?

Regardless, we did a film project for every book. Each one pushed the scope beyond the previous. It started with little things like adding subtitles. By our third film, we (and by “we,” I often mean Rian, but the rest of us contributed) were splicing together shots to make it look like a raft was going down the freeway and that two people were split seconds away from being hit by a train.

By second semester, we were trying new things. Did you know that when you throw a big Raggedy Ann doll off a cliff and film it from far enough away, it tumbles down just like a human would? And I remember the first time we did a “character disappears from the screen” trick. I said “Danny, you’re no longer needed in this scene,” and waved my stick in front of Danny. We then filmed the same stick movement without Danny, and voila! it looked like I waved my stick and he disappeared.

Amateur stuff, really. But considering we were fifteen years old and digital editing didn’t exist yet, not too shabby.

As I think back now, a lot of our later projects had very little to do with the book. We had built up enough credit with the teacher (a concept I wish more of my students understood), and honestly, I think the teacher was enjoying seeing what we were capable of, as well. Or maybe he had learned his lesson after the one time he said we couldn’t film a video, and then fell asleep during me and Brendan’s debate about whether or not Dungeons and Dragons led to violence.

I knew we should’ve gone with “Where was Alice’s bedroom in the Brady Bunch”?

With another four or five friends that weren’t in that class, we formed a filming group we called the Flat Poodles, after a Weird Al song. We continued to make films throughout junior and senior years. Junior year, Rian, Brendan, and I took an ROP videography class. The teacher was a distant cousin of the NBA player, Jeff Hornacek. I bet that’s not his go-to for “famous person I’ve had encounters with” anymore.

By senior year, I had pretty much hit my ceiling, but Rian was still going strong. He took the ROP class a second time for no credit just to get more experience with editing and the new-fangled (1991 era) computer graphics. By then, the entire school was aware of his talents. I think every rally senior year featured some Rian Johnson video showcasing something around the school. Being on the student’s side back then, it didn’t seem all that momentous. Rian was talented, why wouldn’t his work be featured? Now I’m a teacher, and it occurs to me how out of the ordinary that really was. Everybody at the school knew he was a once-in-a-generation talent.

It wasn’t just his talent behind the camera, though. He writes everything he directs. Movies, at least. I don’t think the “Breaking Bad” people were going to let him write the third-to-last episode. He’s funny and his natural intelligence and empathy comes through in everything he does. That was true back then, too. The rest of us could occasionally help with one or more of those things. I can be funny. Brendan might have gone toe-to-toe in intelligence. Joon and Craig had the whole humanity and empathy things down pat. But Rian was the glue.

An aside: Rian had a hilarious routine for Phil Collins’s “Take Me Home,” where he pretended to be a taxi driver. “So take, take me home.” “Yeah, buddy, you already said that. Where’s your home?” “But I don’t remember.” He timed it perfectly, and the dialogue went on for most of the song. I hoped the taxi driver would show up in one of his movies. Brothers Bloom was probably the best chance. It looks like his next few movies will continue to take place “a long time ago” in a galaxy where Phil Collins doesn’t exist.

But that opening sequence of The Last Jedi, where Poe keeps saying he’ll hold for General Hux was excellent, yesno?

I’ve stolen some of Rian’s ideas, in addition to his VHS tape. I suck at coming up with ideas, as is evidenced that I’m writing this the day after I saw The Last Jedi. Had I thought of it in advance, I could’ve posted this on Friday and gotten all the clickbait. But no, I’ll be posting it after the buzz is gone. Typical. And now that scintillating expose on “Dora the Explorer” that I was thinking of writing this week will be put off till the new year.

Freshman year of college, I took a creative writing class. We had to write a new story every week. While I think my writing is good, um, acceptable, I can’t come up with a new fucking idea every fucking week. Seriously, what the hell? And you want me to sign up for your advanced class? You know I’m on the verge of discovering alcohol, right?

Sorry, where was I? Oh yeah, ideas. Whenever I was stuck for a new flash fiction idea (we called them “short stories” back then) that quarter, I would always remember some off-hand Rian comment. “I thought it would be cool to write a story from the perspective of an ant being washed down the drain in a sink.” Or “A guy is trying to get up the courage to talk to a girl and finally gives up, will maybe try again tomorrow, even though they’re the only survivors of a nuclear holocaust.” I think I stole both of those. Probably sucked horrendously at both. But add a creative writing class at U.C. Davis to the list of classes I would have failed without Rian.

Rian’s first movie, Brick, was filmed at our high school. If you look close enough, you can see the house I grew up in on the hill behind the school. I think he already had the idea for Brick, or the beginnings of it, in high school. Senior year, he had an idea for a movie about a high school student who saw through the mirage and knew the dark dealings going on beneath the shadows. We didn’t get much into it, only filmed two scenes, but the tone seemed very familiar thirteen years later.

The role of the high-school student, later “stolen” by Joseph Gordon-Levitt, was originally played by yours truly. The part moptop, part mullet, mess of a hairdo that JGL sported in the movie was exactly what I looked like in 1992. I’m not saying I was the inspiration (yes, I am), but I definitely know that Rian equated my hairstyle to a specific type of character.

And let me go one further. Rian as a director wouldn’t exist without me. I was the first headache-of-an-actor that he ever had to “direct around.” Not in the prima donna, demanding my own dressing room, type of way. But in the “I’m a horrible actor” kind of way. Think Nicholas Cage playing Austin Powers. Over the top and punctuating every joke to death. After me, Bruce Willis must’ve been a breath of fresh air.

The last time I saw Rian was at the San Francisco opening for Brothers Bloom. Back then, he was still small time and had to/got to follow his movie around to each of its openings. I told him he needed to stop killing off all of his characters. Hollywood survives on sequels. I thought maybe he was going to become the directorial version of Leonardo di Caprio, who I believe has never acted the same role twice. It turns out Rian was just waiting for the RIGHT sequels to come along.

Although he still (spoiler alert) has the tendency to kill off main characters.

It was great seeing Rian at the Brothers Bloom premiere. Someone asked him how he got into filming, and he talked about \he and his friends grabbing the camera and running off into the canyon to, I don’t know, see what it looked like when we throw a Raggedy Andy off a cliff. I thought he was throwing out that anecdote because he knew I was in the audience. Nope. That’s just who he is.

If you see any interviews with Rian, be assured that his unassuming humility is real. Remember that the next time you think only assholes succeed. Blessed are the meek, for they shall inherit A FUCKING STAR WARS MOVIE AND ANOTHER TRILOGY TO COME.

My Facebook feed has been filled with well wishers this week. Most of them were tongue in cheek, “going to see a friend’s art project.” I haven’t seen a sour grape amongst them. Rian’s a guy you can’t root against. The entire SCHS Class of ’92 feels a huge bit of pride, and a small bit of ownership, for him. We referred to him as “Rian, Freaking, Johnson!” long before the rest of the world knew he deserved such a moniker.

Did we know he had a Star Wars in his future? Hell, no. It was the early 1990s and as far as we knew, Star Wars was over. The Timothy Zahn trilogy that started the Expanded Universe was just hitting the bookstores. At the time, Rian wanted to work on “Twin Peaks.” Hey, “Twin Peaks” is back, too.

But David Lynch, I knew Rian Johnson. Rian Johnson was a friend of mine. And you, David Lynch, are no Rian Johnson.

George Lucas, I’m looking at you, too.

I still sometimes show one of those 10th grade projects to my current students. It was ostensibly about “Johnny Got His Gun,” but we basically used the book as an excuse to make a “commies vs. good guys” war pic. Because Dalton Trumbo was a communist. Like I said, our teacher gave us some leeway by the end of the year. Did I mention the camera was broken for one project so we just spliced together scenes from “Three Amigos” and did voiceovers?

I show the film to my students, at least in theory, because it shows what we thought of the commies in the 1980s. Cold War propaganda and whatnot. My character’s first line is “It is good zat ve attack zem from behind, because if ve fight fair, ve are so weak.” Then we both laugh, exaggerated and simultaneous. “Hah. Hah. Hah.” Now re-read that dialogue in the style of Nicholas-Cage-as-Austin-Powers.

But the real reason I show it is to give my students a glimpse of me at their age. And, as a postscript, “Oh, that other guy? Yeah, he wrote and directed <Insert most recent Rian Johnson project here>.” This year, I added, “Here’s a YouTube clip of him on Jimmy Kimmel last week.”

This year, all three of my classes, after seeing the two of us on the same screen together and what Rian is today, asked if I was pissed.

“Why in the world would I be pissed? One of my friends is awesome!”

“Because that could’ve been you.”

“No. It really couldn’t have been.”

Even if I was an accomplished writer, I wouldn’t touch Star Wars with a ten-foot pole.

That’s how my students are, though. I don’t know if it’s an age thing (Teenagers!) or a generational thing (Millenials!) or a culture thing (Low SES!), but most of my students think another’s success is at the expense of theirs. When one of them catches a touchdown, the rest of his team is pissed that it wasn’t them.

Hopefully it’s just a teenage thing and they’ll grow out of it. I hope they get to feel the pride that comes when the most talented person you know is acknowledged for that talent. I’m sure I wasn’t as nervous as Rian was when the movie was about to start, but I probably attacked the reviews more voraciously. Oh please, oh please, oh please, I thought, let it be the best goddamned Star Wars movie ever.

And it was.

After the movie, I mentioned to my wife that, had I been Rian Johnson, after Carrie Fischer’s unfortunate death, I might have gone back in and switched who was flying the ship that went to light speed and cut the First Order ships in half. It would’ve been a fitting sacrifice for a character that we know won’t make it to Episode IX.

I also don’t think I would’ve turned Benicio del Toro. I had visions of him as the next Han Solo.

My wife’s response?

“Thank God you’re not Rian Johnson.”

Juan Valdez was a Hack

I’ve been a wine snob for almost as long as I’ve been drinking alcohol.

I come by it naturally, living in Northern California. There are probably more than 200 wineries within a couple hours’ drive. In my early twenties, even most of the wineries in Napa were free or had a very small tasting fee that went toward the purchase of wine. Until five years ago, Sonoma County was almost entirely free, and even today, most of the wineries in Amador County are free. Amador is closer to my house and even if they’re ignored by the greater zeitgeist, I will put their wines in the Pepsi Challenge against Napa Valley any day of the week.

At these wineries, you can do side-by-side tastings of different varietals. Sometimes you can taste the same varietals from different years. You learn what you like and don’t like pretty quickly. Or, if not, you at least get a decent buzz.

If you pay a little extra (or join the club), you can taste the good shit. The reserves at some wineries aren’t much different than their standard swill, but at other places, there’s a marked difference. Sometimes a run-of-the-mill winery, or a mass producer that you wouldn’t expect to have anything special, like Gallo or Beringer, make some pretty decent $40 wines.

Who knows, maybe Charles Shaw even makes a Twenty Buck Chuck.

In addition to a geographical inclination toward wine snobbery, I spent a good portion of my twenties waiting tables in a nice restaurant. There I learned the difference between truly upper-end wines and the rest. Just as I will put Amador against Napa, there are a ton of excellent substitutes for the Opus Ones and Silver Oaks of the world. I can’t tell you how often I encouraged a customer who wanted something like Silver Oak to try Rodney Strong Symmetry. They loved the change and the $20 they saved was usually redirected to my tip.

But don’t ever suggest any replacement for somebody that wants Opus One. They’ll be none too happy, and it won’t help your tip. I’ve personally never tried Opus One. A lot of people will give their curious server a swig of their specialty wine. One time, when a customer brought in wine from 1974 and I told him that was the year I was born, he refused to let me leave until I had a drink. It was very smooth. Like, almost water smooth. If he had kept it in his cellar another year, it might’ve been water.

But nobody ever lets their server take a sip of Opus One. So I can only assume it tastes like shit. Bitter, sour-grapes, shit.

The biggest secret weapon in my arsenal for anybody that was undecided was Treana Red, a tiny imprint of a small winery in the totally unknown wine region (unless you’ve seen “Sideways”) of Paso Robles. You wouldn’t expect Treana to be good. It calls itself a “red blend,” which brings to mind the horrors of Carlo Rossi jugs and Franzia boxes. But to say no customer complained after I suggested it doesn’t go far enough. Every customer I ever suggested it to thanked me and wondered how such an excellent wine could be so reasonably priced and unknown.

Seriously, go find a bottle of Treana Red. You can probably order one for less than $40 if your state doesn’t suck. Tell ’em The Wombat sent ya. They won’t know what the fuck that means, but it’ll be funny.

While my destiny as cork dork was determined by location, my evolution into a beer snob took an alternate route. For the latter part of my single years, I was a Happy Hour Hound. Needing to be sober and somewhat white-eyed, not to mention ready to teach, by 7:00 in the morning, if I decided to get blotto on a particular evening, or every particular evening, it had to be before 7:00 PM. And the best, cheapest way to get to that particular nirvana is to drink whatever swill is coming out of the middle tap. Did I know about microbrews and IBUs and ABV? Sure. If I drank a beer out at dinner, it would’ve been a Fat Tire or a Sierra Nevada or a Sam Adams. If I was grabbing a six-pack on the way home, it would follow a similar pattern.

But if I was sitting at a bar trying to get drunk, then it’s “Pass the Bud Light.”

There was a point in time I could distinguish between Bud Light, Miller Lite, and Coors Light. I was doing a “blind taste test” put on by the Miller Lite girls at a baseball game. I knew which was which right away, so I picked their brand to get better swag. She didn’t believe me. We tried it again. I was right again. She was still skeptical. Whatever, lady, just give me my light-up beads.

When I moved in with my wife, my commute extended to fifty miles. I need to be awake by 5:00 to be out of the house by 5:45. That doesn’t leave a lot of hangover time. I also have a child. The number of beers I drink on a typical day, week, or month seems infinitesimal compared to a decade ago. Drinking alcohol on a weeknight  is a rarity. As a result, on those Fridays and Saturdays where I feel like imbibing, my tolerance is virtually non-existent. Two beers, sixteen hours after I woke up, and I can’t even make it through my one half-hour of grown-up television.

Oh well, at least that episode of Dora the Explorer was especially scintillating.

A six-pack in the fridge will now last me a few weeks, not halfway through a Friday night. And if I’m only having one or two beers, I ain’t wasting them on shit.

It was a casual process, but I remember a moment last year when I met a friend for happy hour before going to a baseball game. I was three good beers in when I got to the game, which happened to be celebrating that most ubiquitous of all minor league promotions, Thirsty Thursday. I figured since I was already three beers in, I could probably switch to shit beer. After all, even Jesus said to drink the good wine before the crappy wine, then you won’t notice it as much.

Maybe wine, Jesus, but not beer. Holy crap, that was the most horrible thing I ever drank. Then I did the unthinkable: I paid for a $9 Sierra Nevada instead of the $1 Bud Light. The 30-year old inside me cringed.

But I make more money and drink less beer than the 30-year old me. So it’s quality over quantity now.

Then again, I’m not the best example of a beer snob, because I don’t like any of the hipster beer movements sweeping every microbrewery in town. Or the fact that every town has a microbrewery now. But that’s probably a story for another time.

What I’m here to talk about today is a third bit of liquid snobbery that I didn’t even know was possible, much less that it applied to me, until recently.

My name is the Wombat. And I am a coffee snob.

Did you know that there are still people in the world that drink Yuban?

Hoo-boy, there are some crappy coffees out there.  I guess I kind of knew they were out there. The coffee aisle at the grocery store is full of them. In fact, now that I mention it, the part of the coffee aisle that I actually shop from is a small portion at the very end. I assumed the rest of the aisle was taken up by, I don’t know, tea and powdered creamer. Maybe filters. But I’ve seen an awful lot of Sanka in my peripheral vision en route to the cereal.

The coffee snob started innocently enough. There’s a hipster in my department who brought in a tea kettle and a pour over kit. We have a fifteen-minute brunch between first and second period, during which we can heat enough water for two people to have a freshly-crafted brew. A couple others can brew theirs during their prep period right before or after, and the pour over spot became the modern-day equivalent of ye olde water cooler. Could we have gone standard coffee maker? Sure, but then we’d come in, pour our cup, and lose the sense of community that comes with the slow, agonizing second-half of the pour over process. Seriously, I bet an opium-molasses hybrid would strain faster than the last few drops going through the waterlogged grounds.

Hold on for a moment while I go patent Opium Molasses.

Unofficially, the “Pour Over Club” brings coffee whenever we’re running low, but it’s pure communism once the goods have been procured. Somebody might be milking the process, but as a general rule, we all need the caffeine enough that we’ll make sure there’s enough coffee. One day, nobody remembered that we ran out the day before and we had to go without. The next day, our prep area looked like this:

coffee

This is when I started to realize I was a bit of a snob. Somebody brought in Lavazza. Sounded interesting. Italian name, so it MUST be good. Turns out I wasn’t much of a fan. I figured it was just a taste thing, like an IPA, which I don’t care for but I know many beer enthusiasts love. Still, I struggled through it, because it was the only thing present and even the ugliest hooker in the whorehouse can service some needs.

Six months later, I accidentally brought some more Lavazza in. It was on sale, and I thought, “Italian name, so it MUST be good.” Maybe a little more caffeine would’ve helped me remember. The next day, two of my co-workers had brought in replacements. Turns out I wasn’t the only one that thought it was subpar. It’s not terrible, just not that great. So we kept it as a backup for the next time we ran out. It lasted most of the semester.

But one day I came in, to my horror, to discover a giant vat of Folgers waiting for me. I thought it was a joke. “Who the fuck brought Folgers?” I demanded of everybody in my department. A few of my fellow teachers don’t really drink coffee, and when they do, they sully it with flavored creamer. I started my accusations there. They all denied it. I went in backward order of who I assumed to be the most kindred coffee spirit. By the time I made it to the other snob, I thought for sure someone had lied. Except the final interogatee admitted that yes, he was the culprit. It was leftover from some function he had gone to over the weekend. One of those get-togethers where they have a huge urn full of drudge. His wife asked if we might use it at work and it was either that or throw it out. He figured, “why not?”

I thought my derision would indicate “why not,” but that wasn’t even the biggest factor. A few days later, he brewed it once to prove a point. Even the non-regulars, with their Irish Creme creamer, took a few sips and opted out. The entire thirty-ounce tub sat patiently at the back of the area until the end of the year before we dumped it. There had been a day or two with no coffee available, yet we still didn’t bust into the red vat of mediocrity. Better to go dry for the day. The headache I have on the way home will remind me to stop off and buy some more coffee.

Incidentally, after we mocked the creamer-user enough, he tried some of our coffee black. It wasn’t the bitter crap he had assumed it to be. A week or two later, he admitted that he was now drinking black coffee at home. And now that he was drinking it black, he couldn’t do the Maxwell House. But the good news was that the money being saved on creamer could go toward buying better coffee.

It’s amazing how, once you actually start tasting the coffee, you want coffee with taste. A good portion of the industry hopes you never discover that coffee can taste good.

Fortunately for me, my snobbery seems to be coming at a perfect time. There’s been a resurgence (or maybe just a surgence) of good coffee shops of late. I wouldn’t have believed it five years ago, when the common narrative was that Starbucks pushing everyone out of business. As much as I love me some gingerbread latte, Starbucks isn’t a coffee business. At best, it’s an espresso business, although with all of the specialty Frappuccinos coming out, even that moniker is faltering. Notice how few of the mermaids, dragons, and Christmas trees have coffee as their base flavor? I can’t tell you how many times I’ve ordered the coffee frappuccino and had to send it back when they gave me a caramel one. “Oh sorry, we’re not used to people ordering coffee flavor.”

I’ve settled on ordering an espresso Frappuccino. They’ll give me an off look, but at least the order will be right. Or better yet, I’ll just get a Javiva at Peet’s.

But I feel like the “as sweet as possible” trend is reversing. Competitors are returning to what we now call “drip coffee,” aka coffee. The mom and pop shops have been replaced with hipster locales where they don’t crinkle their nose after I say “no cream or sugar.” Single origin, French press, Clover, and the pour over are becoming increasingly common. And don’t get me started on the wonderful things they are all doing with cold brew.

My favorite spot in this new trend is Philz Coffee in the Bay Area. Their motto is “One Cup at a Time,” and every single coffee they serve is a pour over. They have about fifteen varietals, each with tasting notes, and you can even blend more than one varietal into a single cup of coffee. After you order it, they grind the beans and “brew it” right there in front of you. When it is handed to you, there is a layer of bubbles on the top, and if you slap that lid on before you have slurped up some of those bubbles, the barista might have a nervous breakdown. How cool is that? They want you to sample the cup of coffee like it’s a bottle of wine. The entryway to snobbery is open and widening.

Unlike beer, where my preferences are very specific, I’m not particular about the coffee varietals. Dark roast, medium roast, light roast. All are fine, especially if the brewer knows that dark roast need not be the consistency of crude oil. Guatemalan? Honduran? Kona Blend and all of its attendant controversies? Sure.

Even decaf.

I’m just kidding. Decaf is a demon-spawn cocktail filtered through the devil’s own anus. Non-alcoholic beer is bad enough, but I can at least get my head around people who want to avoid alcohol. There is no reason on the planet that someone should opt to avoid the wonder that is caffeine.

And I’m not going to lie and say that I can actually taste all of those “notes of” that the descriptors say. Wine? Yeah, I can definitely sense the grapefruit in a sauvignon blanc. With zinfandel, I know I prefer a peppery one over a jammy one. But when the coffee says it tastes of hazelnut and cardamom, I’m just going to have to trust them. Even the very basic flavors or “fruity” or “nutty” doesn’t come through on my palate. I’m skeptical it’s on anybody’s. I wonder what temperature it needs to be at to get that flavor.

Whoever heard of “fruity coffee,” anyway?

But that’s okay. I’ve come to discover that there is only one flavor profile I need my coffee to have. It’s a flavor that might be a rarity in the coffee world but, thankfully, is becoming easier to find.

That flavor is: good.

4tw FTW

I’m currently kicking the ass of an evil marionette brought to life by a wicked witch. In typical RPG fashion, I already beat the shit out of the witch. Actually, the witch was a “global event,” so all the MMORPG players contributed to beat the boss monster. But now that I’ve finished this level, I’m bumping around to finish some side quests and level up. If I can beat this marionette two more times, I get some tickets that I can use to buy sparkly items for my character. Fun times.

Based on my current count, I will have killed the fucker by the end of this sentence.

Yeah, you’re dead. Eat shit and die, Ceratonia.

Of course, now I’m no longer fighting Ceratonia. I wouldn’t have wanted to waste that last sentence. I’m now fighting Wiwaz, an even “stronger” marionette. And the first salvo in our battle were the sentences “Yeah, you’re dead. Eat shit and die, Ceratonia.”

Dammit. I should have written “you are dead,” not “you’re dead.” Because the way to defeat these particular Dark Lord spawns is to write words.

I found a new writing website just in time for NaNoWriMo this year. I also won NaNoWriMo for the first time this year. Causation or correlation? I’m leaning toward the former.

4thewords.com is an RPG-style website. But each of the monsters require a certain number of words written in a certain amount of time to be defeated. Some of them are easy, 300 words in forty minutes. Others, like the Wiwaz I’m fighting right now, max out at the NaNo-inspired 1,667 words in 24 hours.

So maybe I should’ve told Ceratonia that he should dine heartily on a plethora of his own fecal matter. Oh, and die.

After a few fights, you can get better weapons and armor, so in my current battle, I actually have about 26 hours and only have to write about 1400 words. Easy as pie. A very, cherry, strawberry, boysenberry, and a zillion other kinds of berry pie. Shall I describe the scrumptious crust?

I can’t say enough about how this website has transformed my approach to NaNoWriMo, and to writing in general. That 300 word monster? He’s the first one you fight. I always knew I could write 300 words if I was ready to go at the start. The forty minutes was a little daunting, but I made sure I was free of distraction and got it done.

The next monster I encountered required 500 words in two hours. Not surprisingly, the 300 words I had written against the first guy didn’t really get the scene I was planning down on paper. Of course not. Three hundred words barely gives you enough room to describe a bowel movement, much less how a wooden puppet is going to dine upon it.

And yet, in the first forty-three years of my writing life, there have been many days that I couldn’t even get 300 words on a piece of paper. And then I’d go a week without writing 300 words. Then a month. Then when I’d finally sit down and write 300 words, I’d get pissed that I had finally found time to write and I didn’t even get to that point of the scene that had been playing around in my mind for two months. Then it’s rinse and repeat, and a year later, I’d be a thousand words farther into the same damned chapter I was in a year ago and pissed as hell that I couldn’t get anywhere with this particular project.

But now? If I don’t finish my train of thought with one monster, I’ll just gauge whether I want to take on the next one now or tomorrow. Depending on what part of the dungeon you’re in, you can usually choose who to fight next. If I feel like writing 800 words over the next three hours, I can. Or if I want to take a more leisurely approach, I can got 1000 or 1200 over an 8- or 10-hour span. As a result, I’ve actually become pretty good at knowing how many words I need to get through a certain scene.

Now, in contrast with those days of struggling to writing 300 words down, I know I can do 500 words almost as an afterthought.

You get bonuses for maintaining a writing streak. You need to write 444 words to get credit, and no weapons or armor make that number easier to reach. That’s one reason I’m still writing into December. You put fake digital badges on the line, and I become obsessive. I lost twenty pounds the first month after I got a Fitbit, and was at fifty after a year.

And obviously, the website doesn’t distinguish between writing a book or a blog entry. I actually wrote a few things I needed for work on 4thewords. Cheating? Maybe, but the work shit had to be done and that’s the type of thing that would normally derail me from writing, whether it’s NaNoWriMo or any of the other eleven months of the year. And finishing that boring work report is a hell of a lot more fun if I’m shoving a metaphorical sword up a puppet’s apocryphal ass.

It should be noted the website doesn’t actually show the deaths of the monsters and any references to scatalogical functions are entirely my own. 4thewords.com disavows any and all unsightly references being made in their honor.

One other way that 4TW (as the cool kids are calling it) helps my particular brand of writing is that it counts all words, not just the final product. If I rewrite a sentence three times, I get credit for each of the words in each rewrite. One would think that would hurt NaNoWriMo. “Hooray, I’ve written two thousand words! Oh shit, it only counts as five hundred.”

But that doesn’t happen. For one thing, I don’t rewrite as often as I think I do. If I write 1000 words, the actual amount is usually in the low 900s. Sure, a particularly bad batch might only net me 850, but guess what? That 850 might not have been written in the classic NaNoWriMo. They tell you to turn off your inner editor, but I’m sorry, sometimes I know that what I just wrote makes no sense, and I like being rewarded for looking at it a second time. That doesn’t mean I’m going to agonize over every morsel. This isn’t editing.

But the NaNo mantra is ever onward. Each precious word is your child, and you’re not just going to go back and erase your child. If you EVER erase a baby, you will NEVER get to 50,000 babies!

But the way that plays out in my writing style is this: I’m not sure how to word the next sentence in the best way, so I don’t write it. I stare at the screen. I go grab a drink. I play a round of Candy Crush. Or a round of golf. Or I re-shingle the roof. Anything to avoid putting a sentence down that might need to be erased.

4TW works the opposite. When I get to that sentence, I’ll just write it. And as soon as it’s on the page, I can look at it, think it through, and go change those three words to three better words and, voila, I’m six words closer to defecating on a witch. (Not in the “Fifty Shades of Grey” kind of way.)

As such, I am amending a statement I made a couple of NaNo’s ago. It’s my most-read blog post, presumably because most of the participants of NaNo are trying to avoid “doing the NaNo,” so they google things to read about NaNo. I will insert a link later, but for the purpose of words on paper, right now, I will just describe the inserting of links later.

My original statement was that one thousand words a day was, under normal circumstances, an upper limit for me. 4thewords showed me that I can blow past that. Even if I’m not sure what I am going to write, I can at least bumble around enough to get words on paper. They might not be good words, but they’re there. Before 4TW, when the goal was just an amorphous 1667 words in a day, or even worse, “write something today,” a thousand words seemed some sort of natural upper limit before I needed an overnight to replenish my idea bank. Now I’m like, 800 words over 10 hours? Shit, I can go see Thor in between and still have hours to spare.

Most of the time, when I have a specific plan for then next 1,000 words, it’ll actually take me closer to 3,000 words to get through it. And the vague idea I have for what will come after that probably covers another five to ten thousand. It used to frustrate me that I’d write and get no closer to the next scene. Now I embrace it. Words on paper are the goal for today, not finishing the scene.

Of course, one thing I’ve noticed about both 4TW and NaNo are that they make you a bad writer. Usually the fewer words you write, the better. But, as I joked earlier, it’s easy enough to turn a five-word sentence into ten words. That doesn’t make it better and often makes it worse. It tends toward the passive voice. NaNo only does it implicitly. In fact, they explicitly say 50,000 words is an entire novel. Not any novel I’ve ever seen, other than “Slaughterhouse Five.” So it goes. So at least in theory, NaNo’s 50,000 words should not be wasting any space. Yeah, right.

The NaNo people say that you’ll probably add 10,000 words in the rewriting/editing phase, making it closer to “Lord of the Flies” territory. Um, no. Am I the only one that actually takes words out when I’m editing? The first time I attempted a 1,500-word flash fiction, it was close to 4,000 before I took the butcher’s knife to it. The book I worked on through November is at 70,000 words. (When I say I won NaNo, I actually cheated a little. There were already 20,000 words written. But I still did the 50,000 in a month, so screw you, it counts.) The book isn’t done yet. Based on where I am in the story, it’ll easily make it past 110,000 words. Then I’ll edit 25,000 of them out.

4TW actually exacerbates that problem by making the “add some frivolous words” a bit more explicit. If I’m nearing the end of a scene and still have 150 words to defeat this particular monster, I’m not going to spend the time making a new file, am I? Hell, no. So let me just make a wordier description. I’ll have my main character scratch his chin and think about the predicament he’s in, think through his potential choices and the logical ramifications of taking each of those choices. Ten words left? Fine, he scratches his ass, too.

That doesn’t make good story telling, but that works wonders for both NaNo and 4TW. Hence the reason I’m going to have to chop at least 10,000 words off of my novel once it’s finished.

The good news is that, for the first time since I wrote those first 20,000 words in 2014, I feel like “once my novel is finished” might actually happen. And I have 4TW to thank for that feeling. If you’re interested, look me up – my character’s name is Wombat. I also have a referral code. If you want me to let them know I recruited you, leave me a comment.

For now, I’ve got 800 words left to write in my current battle, and it might be worthwhile to put some of those in the actual novel. To quote the Blues Brothers, it’s 800 words to defeat Tamarix, I’ve got a full blog post, a half a book, it’s dark, and I’m wearing sunglasses.

Hit it!