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“I have no sympathy.”

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Social media reactions to celebrity death have taken on a predictable pattern: an outpouring of shock with expressions of grief, followed by a ghoulish need to know all the details, to see the scene of the death and the family in mourning. Then a post-mortem dissection of all the perceived flaws the celebrity had. Things along the lines of, “I always hated his band, anyway,” or “his movies were all crap, I’m glad he’s dead,” begin popping up on Facebook and Twitter. Perhaps these insensitive comments are made out of frustration over the constant bombardment of,  “R.I.P celebrity, gone too soon,” and “OMG crying right now guys, celebrity died,” across every available platform. Maybe they’re just poor attempts at appearing tough or edgy. In the wake of a celebrity’s death from addiction, these comments invariably take on an insidious tone of condemnation.

The tragic death of Phillip Seymour Hoffman this weekend elicited just such a response. The actor died of a presumed drug overdose. Less than an hour after the news broke, Twitter and Facebook were swamped with comments saying, “I have no sympathy,” and “he did it to himself.” “He knew the risk,” some asserted. Words like “weak” and “selfish” were used to describe and dismiss the man, dehumanizing him as an “addict.” A filthy, immoral less-than who deserved his fate, by virtue of his failings.

What causes this reaction? Is it an impulse to distance one’s self from mortality? It’s far easier to brush off death if the death in question seems impossible or improbable as a personal threat. Or is it that our societal discomfort with anything that falls outside of the puritanical norm– alcohol, drugs– renders us unable to see addicts as human beings deserving of empathy and understanding?

Perhaps the most dangerous component of these outpourings of social media censure is the affect that these words, “weak,” “selfish,” “totally avoidable,” have on people struggling with addiction. Reaching out for help is difficult and embarrassing, and made harder when one sees a trusted friend or family member denouncing all addicts as filthy drug users who deserve to die. It’s easy to pronounce addiction “totally avoidable,” but what help is that sentiment to someone who is already suffering the physical and mental compulsions of the disease?

How do we measure our sympathy, if one can “have no sympathy” for a man who was robbed of his life by a debilitating, demoralizing disease? How much does sympathy cost, how difficult is it to harvest, that no one has any to spare? The figures are written on overwrought Facebook macros: this many soldiers died today, and all you care about is some drug addict. It’s a cheap and offensive ploy to shame those who do genuinely care into reserving their precious sympathy. The belief that a person can and should only feel grief over one sad event at a time is a truly disturbing estimate of our emotional capacity. It also fails to honor its subject by ignoring members of the armed forces who struggle with addiction. Are they less worthy of our attention and our sparingly given sympathy because they “knew the risks” of both their jobs and the substance they abuse?

No one can deny that the toll taken on the families and friends of an addicted person is a deep and painful one. We see their humanity, we see something being done to them. We see no humanity in the person who made poor choices. When one of these individuals has a fatal relapse, the resulting feelings of superiority and intelligence gained by others are similar to what we feel rehashing the coulda-woulda-shouldas of a sports event. It’s a morbid version of armchair quarterbacking, in which everyone boasts about which plays they would have run to turn down that first bump at a party.

Whatever motivates us to blame and dehumanize an addicted person, it is a cultural view that must be shifted. As long as the public perception of “addict” is a selfish, immoral person who acts out of unprovoked malice, we will never break out of the cycle of shame and discouragement that prevents alcoholics and drug abusers from seeking treatment.

Perhaps demystifying the experience of drug addiction is the key to creating a more productive national dialogue. We must retire forever our expectation that every addicted person will enter rehab and, like the movies, exit without risk of relapse due to the noble, purposeful change of heart they had during treatment. We must stop embracing narratives that tell us addicts are dangerous reprobates whose recovery exists only to inspire others, and that any expression of caring feeling toward their predicament will ultimately enable their destructive behaviors. But to escape these misconceptions, we would have to listen without judgement to the voices of people we consider “weak” and “selfish.” We would have to have sympathy.

Merlin Club, S01E02, “Valiant” or “Freud would have a theory about this.”

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Merlin club is a weekly feature in which Jessica Jarman, Bronwyn Green, and myself gather at 8pm EST to watch an episode of the amazing BBC series Merlin, starring Colin Morgan and literally nobody else I care about except Colin Morgan.

Okay, I lie. A lot of other really cool people are in it, too.

Anyway, we watch the show, we tweet to the hashtag #MerlinClub, and on Fridays we share our thoughts about the episode we watched earlier in the week.

The Big Damn Buffy Rewatch S02E08, “The Dark Age”

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In every generation there is a chosen one. She alone will spill coffee on her shirt at 9AM, then just decide to go topless all day because who’s she trying to impress, the queen of France or something? She will also recap every episode of Buffy The Vampire Slayer with an eye to the following themes:

  1. Sex is the real villain of the Buffy The Vampire Slayer universe.
  2. Giles is totally in love with Buffy.
  3. Joyce is a fucking terrible parent.
  4. Willow’s magic is utterly useless (this one won’t be an issue until season 2, when she gets a chance to become a witch)
  5. Xander is a textbook Nice Guy.
  6. The show isn’t as feminist as people claim.
  7. All the monsters look like wieners.
  8. If ambivalence to possible danger were an Olympic sport, Team Sunnydale would take the gold.
  9. Angel is a dick.
  10. Harmony is the strongest female character on the show.
  11. Team sports are portrayed in an extremely negative light.
  12. Some of this shit is racist as fuck.
  13. Science and technology are not to be trusted.
  14. Mental illness is stigmatized.
  15. Only Willow can use a computer.
  16. Buffy’s strength is flexible at the plot’s convenience.
  17. Cheap laughs and desperate grabs at plot plausibility are made through Xenophobia.
  18. Oz is the Anti-Xander

Have I missed any that were added in past recaps? Let me know in the comments. WARNING: Some people have mentioned they’re watching along with me, and that’s awesome, but I’ve seen the entire series already and I’ll probably mention things that happen in later seasons. So… you know, take that under consideration, if you’re a person who can’t enjoy something if you know future details about it. 

Merlin Club, S01E01, “The Dragon’s Call” or “The one where Merlin meets everyone in Camelot in a single day”

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Welcome to the first installment of Merlin club. Much thanks to Jessica Jarman’s daughter for drawing what is an eerily accurate representation of all of us. Let me make it clear: this kid has never met me in person, and she managed to come up with a more truthful likeness of me than a camera does.

Merlin club is a weekly feature in which Jessica Jarman, Bronwyn Green, and myself gather at 8pm EST to watch an episode of the amazing BBC series Merlin, starring Colin Morgan and literally nobody else I care about except Colin Morgan.

Okay, I lie. A lot of other really cool people are in it, too.

Anyway, we watch the show, we tweet to the hashtag #MerlinClub, and on Fridays we share our thoughts about the episode we watched earlier in the week.

So, here’s a quick run down of episode one: Merlin rolls into Camelot looking for Gaius, the court physician who also spent some time wizarding around. Merlin was born with naturally powerful magic that he can’t really control, so his mother sent him to Gaius in the hopes that the old man can teach him how to use his powers for good. Oh, and also, so he doesn’t get persecuted by the tyrannical king Uther Pendragon, who hates magic the way I hate any food not dusted with bright orange cheese powder. Uther hates magic so much, there are executions all the time, and Merlin just happens to show up when one is going on. When the man being put to death turns out to be the son of a powerful sorceress, Merlin must face down a powerful enemy to save Camelot, and in doing so, he saves the life of the prince, Arthur, who is like 100% testosterone fueled dickishness. Despite their protests, the king rewards Merlin by making him Arthur’s servant, and they all live miserably ever after until episode two. Also, Merlin meets an imprisoned dragon who is full of sass and can communicate with him via telepathy.

If I had written this episode, I would have changed: Okay, so, at the beginning, when the sorceress staggers out of the crowd and delivers her warning to Uther, it’s clearly Eve Myles in old woman drag. Later, when the sorceress seeks out a singer headed to Camelot for a command performance, the singer is clearly Eve Myles with spectacular hair. The old sorceress sucks the life out of the singer, taking on her likeness… which… was her own likeness to begin with? Except old? If I had been in charge, Eve Myles would have played the singer, and someone else, someone who looked much different, would have played the sorceress. Because it just seems too coincidental that they would look that much alike.

The thing I loved most about this episode: In the Merlinverse, magic is treated from the very beginning as an allegory for homosexuality. When Merlin tearfully asks Gaius, “You don’t know why I was born like this, do you?” and expresses that he would rather die than hide who he is, it’s a gut punch, and it’s handled beautifully.

The thing I hated about this episode: You have Eve Myles in the first episode. And you use her for a one-off character that gets killed. Great work, guys. It’s not like she wouldn’t have made a fucking amazing recurring character or anything. You had one job.

Some things I never noticed before: In one scene, Arthur warns Merlin, “I’ve been trained to kill since birth.” Later in the series, we learn that Arthur’s mother, Igraine, died in childbirth.

Favorite costume: This amazing dress, worn by Uther’s ward, Morgana.

morgana

Here is proof of some random head canon I’ve created: Nothing in this episode, but believe me. More to come (see also: my face in the banner up top).

What object would Bronwyn steal from this episode?: These lamps, found inside the singer’s tent.

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What Merthur moment did Jess have the naughtiest thoughts about?: When Arthur tells Merlin, “I could undo you with a single blow.”

Check out Jessica Jarman’s take on the episode here.

Check out Bronwyn Green’s take on the episode here.

That’s it for this week. Join us on Monday as we watch S01E02, “Valiant,” at 8pm EST on the hashtag #MerlinClub.

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The Coffee People

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If you were even slightly aware of broadcast television in the 80’s and 90’s, you’re probably vaguely aware of the coffee people. They started out in commercials in the UK, then later in the US, in a kind of viral-marketing-before-viral-was-a-thing on-going serial that featured two very sophisticated people meeting and falling in love gradually through increasingly far-fetched coffee related interactions. At the height of the coffee people craze here in America, TV Guide actually ran advertisements about when the ads were going to be on. No, seriously, people were that wrapped up in the ongoing drama of these two coffee-obsessed commercial characters hooking up that they actually tuned in just for the commercials.

Why our exclusionary attitudes toward self-publishing must change.

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This afternoon, I read a piece in The Guardian about John Green, and some remarks he made in a speech to the Association of American Booksellers. Most of his statements, overall, are inoffensive. He gives the reasons he would not self-publish, despite his large internet following, and all his reasons are fine. Writers generally get into writing because they want to write, not because they want to be independent publishers, and you can’t really fault someone for saying, “what I’m doing right now works, so there’s no reason to change it.” The only statement Green made that seemed at all controversial was the following:

Don’t blink.

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See this?

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This is what a-holes do.

Well, a-hole friends who put waaaaaaay too much work into their pranks. This weeping angel was made by my friend Bronwyn Green. She came to my house for a visit recently, a friendly sit-and-knit kind of situation. And while she was here, she snuck this little bastard into my office, and somehow, with her shortness and teensy little T-Rex arms, got it onto the top of my very, very dusty bookshelf.

Seen also in the photo is very, very dusty garland of Doctors, which was unfortunately removed during my flailing, screaming reaction when I finally saw the damn thing up there.

The best part about her prank? She’d already done it to other people, and gleefully shared their reactions with me, thus lulling me into a false sense of security. Because what kind of deranged maniac tries to pull off pranking someone who already knows the prank?

Good work, Bronwyn Green.

Retribution is coming.