The Screengrab : in the valley of elah

The Great Netflix-"Crash" Mystery

Phil Nugent — Thu, 23 Apr 2009 15:00:00 GMT

Somebody noticed that Paul Haggis's Crash has been Netflix's "No. 1 rented movie" for more than three and a half years, since it was released on DVD in September 2005. Needless to say, this is not the kind of factoid that speaks for itself and must be dealt with until a satisfactory explanation if forthcoming. God knows that Haggis, who write and directed the Academy-Award-winning message movie, has no earthly idea why anyone would want to rent the thing: "I have no idea why anyone went to the movie in the first place," he told the Chicago Tribune, "let alone rent it. It was a little independent film, and when people started to see it, I was amazed." (Haggis, to his credit, is also bewildered that the fruit of his loins won the Oscar. "I love the Oscars; I just think they are the best thing in the world, but if you asked me if it was the best film of the year, I'd say, 'Of course not.'" He adds, "I happened to like my second film [In the Valley of Elah] better than Crash, but no one went to see it." Incidentally, Elah was technically his third movie as a director, the first having been 1993's Red Hot, but apparently even he didn't see that one.) If it makes him feel better, Netflix spokesman Steve Swasey confirms that, based on his numbers, "More people have now seen Crash on Netflix than in the theater." He added that, because the movie is on so many people's queues, it's always out and people have to wait a long time to get to rent it, which in turn "adds to the demand for people wanting to see it."

A couple of points might be added to the discussion. First, to make any broad assumptions about how many people have "seen" Crash based on how many people have rented Crash might be kind of a broad leap. Lots of people who had been barely cognizant of the movie's existence prior to the 2006 Academy Awards ceremony probably automatically stuck it in their queues as soon as it won the Oscar. And a lot of other people probably did the same thing at some point, not because they could barely contain their excitement at the prospect of having Thandie Newton and Don Cheadle demonstrate to them the folly of racism, but because they picked up some vague signs in the atmosphere that this was a worthy movie that they should see. It may be that one of the major advances in the culture for which Netflix can take a bow is that, rather than actually going to see such films, people can now stick them on their rental queues, and then, when the discs arrive, procrastinate for weeks and even months before returning them unseen. (Let's face it, that has to be what a lot of people are doing. Either that or they're holding onto the disc for extended periods of time so they can watch it again and again, carefully studying it so they can savor all the subtle nuances they missed on the fourth or fifth viewing. The thing is, if there's anything in Crash that wasn't crystal clear to you the first time you saw it, your senses are in such desperate needs of heightening that your only hope may be to get bitten by a radioactive spider.) Then there's all the people who thought they were renting that movie where James Spader can only get it up with the aid of a car accident.

Whatever the case, the idea, at least, that more people are experiencing his best-known feature film on their TV screens is one that Haggis, cutting way against the grain, claims to find pleasing. "It's a small movie," he says. "And I like to see small movies on a small screen. I'm a TV guy, so I'm much more comfortable watching something on a small screen, particularly movies I've made. Other people's movies, I want to see on a big screen." Which reminds us that Haggis's best work was actually the short-lived 1996 TV series EZ Streets starring Ken Olin, Jason Gedrick, Debrah Farentino, and Joey Pants. And the pilot is available on DVD! The next time you rent Crash and don't watch it, why not, as a treat, rent EZ Streets too, and watch it. Live a little.

Is High Definition Killing the Magic?

Leonard Pierce — Fri, 19 Sep 2008 14:15:00 GMT

It seems like only a few years ago that the bloody horrors of the high-definition DVD format wars pitted brother against brother and traumatized a generation of couch potatoes. But really, it was only a few months ago that HD-DVD, now as forgotten a cultural phenomenon as Crystal Pepsi, was finally defeated at the hands of Blu-Ray. Now, with movie fans the world over having only one new delivery vector on which to spend their excess cash, it is the grim moment that we must face the casualties of that war, and the biggest may be movie magic itself.

At least, that's according to Guardian film blogger Phelim O'Neill, who's been doing a bit of soul-searching as regards the desirablilty of seeing literally everything that Blu-Ray can show us. A common complaint amongst hi-def enthusiasts is that the medium plays havoc on old movies; in the pre-CGI days of low-tech theatrical special effects, sets, makeup, and camera trickery were often spared from being too obvious by the fact that the camera generally didn't catch it all. In high definition, every paper-thin wall, every pasteboard mock-up, every wig and every guy wire is apparent to even the laziest viewer.

But that's not O'Neill's beef. His complaint involves modern movies, where incompetently executed CGI can look far phonier than the back-lot studio sets of yesteryear; where "any surface with even a slight kick to it reveals camera crews, bystanders, movie equipment"; and where "important plotlines and revelations go unnoticed as you spend minutes staring at the fabric of costumes, the wallpaper". Movies, he argues, were never meant to be a mirror to reality; they were always meant to be a hazy, diffused fantasy, and the more realistic they become, the more they lose the special qualities of unreality that make them such a successful artform.

"I watched the standard DVD of No Country for Old Men, then saw Tommy Lee Jones again in the Blu-Ray of In the Valley of Elah, two films made in the same year," O'Neill writes. "In the first, Jones looked merely craggy; in the second, it was as if putrefaction had set in." While we're sure that Jones wouldn't take kindly to being the poster child for not looking too closely at people, it's become increasingly hard to deny that the enhancements of high-definition can be a mixed blessing; as O'Neill says, how are you supposed to know what to look at when everything looks so good?

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Hollywood's Best Iraq Movie: Generation Kill

Andrew Osborne — Mon, 18 Aug 2008 20:00:00 GMT

Lions For Lambs, Robert Redford’s think piece about recent U.S. foreign policy, sounded like a pretentious, humorless slog. Rendition: ditto. No End In Sight and about a zillion other well-reviewed documentaries about the current Middle East mess popped up at my local art house for about a week, only to disappear before I got out to see them (though, to be honest, I probably never tried very hard). In The Valley of Elah is # 71 in my Netflix queue, and United 93 haunted my TiVo for months before I finally admitted that waiting 'til I was in the right mood to watch it probably wasn’t something that was likely to happen for years.

It’s not that I want to keep myself ignorant about the truths and half-truths of the War On Terror. It’s not that I can’t handle dramatic subject matter. And it’s not that I don’t support the troops. But, like many Americans already saturated with information about the infuriating incompetence and arrogance of the Bush Administration’s foreign policy misadventures since 9/11, the past seven years have been such a demoralizing downer that spending my free time deliberately subjecting myself to fresh, Hollywood-inspired fits of impotent rage seems like the leisure time equivalent of driving around in rush hour traffic for kicks. And yet, somehow, after numerous box office failures, Hollywood has finally managed to get the War on Terror right...on the small screen, at least, with HBO’s seven-part adaptation of Evan Wright’s book Generation Kill, based on his observations as a Rolling Stone reporter embedded with a Marine battalion during the early days of the current Iraq war.

Are you watching this show? If not, imagine the second half of Full Metal Jacket with more characters, desert locations and hip-hop and you’ll have the basic idea. And yes, I just equated a TV show to a Stanley Kubrick classic, a comparison only possible because, like Jacket, Generation Kill is the product of uncompromising, honest-to-God pop culture genius in the two-headed form of David Simon and Ed Burns (NOT the handsome one from Saving Private Ryan), creators of the justly praised, unjustly underseen and unrewarded HBO masterpiece The Wire.

Like their previous collaboration, which nailed the details of the misbegotten War on Drugs so accurately that cops and drug dealers were among the show’s biggest fans, Simon and Burns have said their main goal with Kill was to depict Marine life during wartime in a way actual Marines would recognize without calling bullshit...and by all accounts they’ve succeeded. Their obsession with verisimilitude over political axe-grinding or boot-in-the-ass patriotism is one of the reasons Generation Kill bears comparison to Full Metal Jacket, Platoon and other grunts-eye-view dramatizations of the day-to-day boredom, frustration, terror, absurdity and pride of military life.

Alternately funny, exciting, terrifying and infuriating, Generation Kill honors the skill, bravery and professionalism of America’s fighting force while also depicting the forces, large and small, that frequently cause it to malfunction so badly.

Charlize Theron Is a Sexual Creature

Scott Von Doviak — Mon, 30 Jun 2008 17:30:00 GMT

Charlize Theron is on the publicity trail in hopes someone will notice she’s co-starring in the big Fourth of July weekend extravaganza Hancock. (She was hardly featured in the early trailers, although, perhaps in reaction to some bad buzz, she’s much more of a presence in the latest round of ads.) “When she walks into a room she reduces everyone else to hobbits - but she's better known for her acting,” Carole Cadwalladr writes in The Observer. Maybe that’s true, but it’s probably more accurate to say Theron is best known for her willingness to ugly it up if the role demands it. Not that she’s happy about that.

For instance, for her role in In the Valley of Elah, Theron grew out her natural hair color and wore a ponytail, which is a pretty far cry from the prosthetic teeth and latex skin she used to transform herself into serial killer Aileen Wuornos. Still, the press cited this as yet another example of Theron playing down her beauty. “It just bummed me out because I was, ‘What do you want?’ Do you want me to play a detective from Albuquerque who's a single mom in a Dior dress?...The way they focused on my appearance, I felt like it hurt that film and I was embarrassed because Paul [Haggis] had worked really hard and just because I had a ponytail that's what they were talking about.”

That won’t be a problem with Hancock, in which Theron is “the archetypal soccer mom, a vision of all-American apple-pie goodness, blonde and peachy,” according to Cadwalladr, who notes that while Theron is willing to play down her looks on the screen, she’s perfectly happy to play them up for “photo spreads for the likes of Playboy and Barely Legal.” Says Theron: “Well guess what? I'm a sexual creature. There's nothing wrong with that. Why do we have to be ashamed of being so many different things? Why do we have to be only one thing, a good mother or a hooker? I don't think that what's under my clothes is evil. I'm a woman, I'm feminine. And I like the way I look. And I celebrate that. And I don't make excuses for that.” Screengrab approves this message.

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DVD Digest for March 11, 2008

Paul Clark — Tue, 11 Mar 2008 14:00:00 GMT

This week finds the recently-anointed Best Picture Oscar winner coming to DVD, as well as some long-overlooked genre offerings, adrift of sea of junk both old and new. In other words, sort of like every week here at DVD Digest.

DVD of the week: What else could it be but No Country for Old Men (Buena Vista, also Blu-Ray)? The film's DVD contains some interesting-looking featurette, including a making-of with the Coens, but the primary reason I'm including it here is because when a legitimately great film is honored with the Best Picture Oscar, it's a cause for celebration. Say what you will about the falling fortunes of the Academy Awards, but the Oscar name still means something to people, and the award should bring No Country a bigger home-viewing audience than it would have had otherwise. Yes, I realize there will almost certainly be a super-deluxe edition of the film in six months or so, one which will hopefully include an Easter egg of Henry Kissinger: Man on the Go. But especially in a relatively slow week for DVD (no major box sets, no Criterions), I'd say the arrival of No Country in home-viewing form constitutes an event.

In other new releases, this week brings Paramount's tiresomely overhyped Bee Movie; Steve Carell and Juliette Binoche in Dan in Real Life (Buena Vista, also Blu-Ray); the John Woo-wannabe Hitman (Fox, also Blu-Ray); August Rush (Warner, also Blu-Ray); the misbegotten Caine/Law/Branagh remake of Sleuth; last summer's largely forgotten updating of Nancy Drew (Warner); and the anime DVD Appleseed Ex Machina (Warner, also Blu-Ray).

On the classics front, the week's big news is the three new titles in Fox's ever-growing selection of film noir on DVD: Ginger Rogers in Black Widow, Jeanne Crain in Dangerous Passage, and Joan Crawford and Henry Fonda in Otto Preminger's Daisy Kenyon. Daisy Kenyon in particular has enjoyed a critical resurgence during the past year, and I'm eager to check it out now that it's finally available again. Other titles of note include the Al Pacino double feature of ...And Justice For All and Bobby Deerfield (both Sony), and a new special edition of Gattaca (Sony, also Blu-Ray). The week's Blu-Ray-only releases include Dogma (Sony), I, Robot (Fox), and Independence Day (Fox).

Finally, David Huddleston offers his condolences to the following HD-DVD releases:

Bee Movie (Paramount)
In the Valley of Elah (Warner)
Michael Clayton (Warner)
Fletch (Universal)

I don't know about you, but $20 seems a lot to pay for what will likely be used as a Fletch drink coaster in a few months' time. Although if you use it to hold your Bloody Mary while you eat a steak sandwich and a steak sandwich, perhaps it'll be worth it to you.

DVD Digest for February 19, 2008

Paul Clark — Tue, 19 Feb 2008 15:00:00 GMT

New this week: another Jean-Luc Godard film goes Criterion, and plenty of Oscar-bait (successful and not-so-successful) premieres on DVD.

DVD of the Week: The latest Godard classic to get the deluxe Criterion treatment, Pierrot le Fou is quite possibly the lightest and least didactic of the master's Golden Age output. The film lacks the poetry of earlier films like My Life to Live and Band of Outsiders, as well as the revolutionary fervor of Week End and La Chinoise. In many ways, Pierrot feels like the closest Godard came to making a lark, complete with impromptu musical numbers, gorgeous Cinemascope photography, and Anna Karina at her loveliest. But despite the deliberately minor feel of the film, it's a seminal work, both for the filmmaker and for the period. The two-disc Criterion edition of the film also includes: a new interview with Karina; archival interviews with Godard, Karina, and Jean-Paul Belmondo; the video A "Pierrot" Primer, directed by Godard associate Jean-Pierre Gorin; and a documentary about Godard's personal and professional relationship with Karina.

Also on the Criterion front this week is Alex Cox's Walker, a notorious flop in its day that has become a cult favorite in the intervening years. I haven't had the chance to watch the film yet, so I'll direct you to an appreciation of it by former ScreenGrab editor, and unabashed Walker fan, Bilge Ebiri.

Other new releases on DVD:
American Gangster (Universal, also HD-DVD)
In the Valley of Elah (Warner, also Blu-Ray)
Lust, Caution (Universal)
Margot at the Wedding (Paramount)
Michael Clayton (Warner, also Blu-Ray)
Rendition (New Line)

The new Criterions aside, it's looking like a lean week for classics coming to DVD, although I would be remiss if I didn't mention Sony's Blu-Ray-only release of Tom Tykwer's propulsive arthouse hit Run Lola Run. In addition, Sony is releasing a 1992 documentary about old-school criminals like Lucky Luciano and Bugsy Siegel entitled... The American Gangster. I can't imagine why they'd wait until this week to release it.
Finally, new TV on DVD: Universal's Coach: Season 3; Fox's Newhart: The Complete First Season (note: this is the one where he runs the inn, not the one where he's a shrink); and, as promised, the much-anticipated Walker, Texas Ranger: The Complete Fourth Season. I can't imagine there'll be much overlap between people renting this and those renting the Alex Cox Walker, but you never know.

Paste Magazine's Art House 100

Phil Nugent — Tue, 05 Feb 2008 18:00:00 GMT

Paste magazine has published its "Art House Powerhouse 100", devoted to listing "the people behind the movies we love." The feature is self-consciously designed to serve as an alternative to the other "power lists" that such magazines as Vanity Fair and Entertainment Weekly get such a thrill out of assembling, with Paste's list striving to determine, "Who are the power players in the world of quality cinema? What individuals and organizations make intelligent, well-crafted movies and have the profile, financial resources and/or critical esteem to attract discerning audiences? In short, we looked for those at the intersection of art and commerce who make independent film the viable and sustainable industry that we’ve come to enjoy." After that buildup, the magazine proceeds to serve up a list of names that for the most part will not be unfamiliar to many people with a passing interest in high-profile moviemaking a little further off the beaten track than say. Transformers. But if few of them have been starving for media attention, most of them are certainly deserving of a pat on the back. The lists of directors (which includes Martin Scorsese, the Coen brothers, Paul Thomas Anderson, David Lynch, David Cronenberg, Todd Haynes, Tim Burton, Guillermo del Toro, Michael Winterbottom, Stephen Frears, and comeback kid Sidney Lumet) and actors (among them Naomi Watts, Viggo Mortensen, Laura Linney, Forest Whitaker, Philip Seymour Hoffman, Cate Blanchett, Charlotte Gainsbourg, Don Cheadle, Daniel Day-Lewis, Cillian Murphy, Ryan Gosling, Johnny Depp, and Javier Bardem), can be found at the website. The hard copy, available at your local newstand, also tots up noteworthy cinematographers (such as Roger Deakins, the hard-working D.P. on No Country for Old Men, In the Valley of Elah, and The Assassination of Jesse James by the Coward Robert Ford) and producers, as well as listing the magazine's favorite film festivals.

Oscar Nominations: Is the Egg Showin'?

Paul Clark — Wed, 23 Jan 2008 16:00:00 GMT

So. . . what was it William Goldman said again? I suppose my predictions weren't too bad under the circumstances, but just like every other year, the Oscar nominations held plenty of surprises.

A full list of nominations can be found right here.

In no particular order:

- The almost total lack of love for Into the Wild. I figured that the acclaim for this true-life story, and the presence of Sean Penn — an actor they clearly love — in the director's chair, would make the film Academy catnip. Clearly, I was mistaken.

- On the other hand, they loved There Will Be Blood even more than I'd anticipated, looking past its darkness to see how flat-out brilliant it is (sorry, haters), giving PTA not only best director and adapted screenplay, but a best picture nomination as well. The Jonny Greenwood thing stung a bit, but the other technical nods — art direction, cinematography, sound design and editing — compensate pretty well. And Daniel Day-Lewis is looking pretty unstoppable for best actor at this point. All in all, Blood received eight nominations, tying it for the most-honored film with widely-acknowledged frontrunner No Country for Old Men.

- Atonement. Wait, this movie's chances for best picture were supposed to be more or less dead. Don't the voters read the prognosticators? Still, despite the film's considerable pedigree and handsome production values, Joe Wright was shut out of best director (in favor of Ivan Reitman's kid, no less), which leads me to believe this barely squeaked in. But you never know.

- Show of hands: who saw the best actor nod for Tommy Lee Jones coming? Certainly not me. I figured that he had a good chance for his supporting work in No Country for Old Men, but I'm surprised any of the voters actually remembered In the Valley of Elah. But I won't complain. As an avowed Crash hater, nobody was more surprised than me that Elah turned out to be pretty darn good, due in large part to Jones' great performance. I'll certainly take him over, say, John Travolta in a fat suit.

- The double dip for Cate Blanchett. Yes, she was a deserving nominee for playing the most fondly-remembered of Todd Haynes' menagerie of Dylans. But honoring Elizabeth: The Golden Age tells me that the voters ran out of suitable nominees. Lord knows I'm no fan of Angelina Jolie, but at least she tried to give a multilayered performance in A Mighty Heart, which is more than I can say about Blanchett in Nobody But Elizabeth Expects the Spanish Inquisition. Just. . . ugh.

- When I floated my best supporting actress theory — that in recent years, the great majority of nominees in this category appear in films opposite performers who also get nominated — I wasn't just blowing smoke. Seriously, look it up. But, probably just to confound me, the nominations bucked the trend this year, with only one of the nominees (Michael Clayton's Tilda Swinton) appearing opposite another Oscar nominees. Just as unexpectedly, only Clayton managed more than one acting nomination, wrangling three for Swinton, George Clooney, and Tom Wilkinson.

- Three out of five Best Original Song nominations went to Enchanted. Either they really love Alan Menken and Stephen Schwartz or it was a really slow year for original songs. Probably both. At least they were smart enough to nominate "Falling Slowly."

- Hey, did you know that people made documentaries this year that didn't deal with the war in Iraq? I only ask because three of the five Best Documentary Feature nominees were Iraq-themed, with only Michael Moore's Sicko and the Uganda-themed War/Dance tackling different subjects. The biggest disappointment is the snubbing of Tony Kaye's exhaustive, empathetic abortion documentary Lake of Fire, by my estimation the year's finest non-fiction film.

- Finally, I leave you with four horrifying words: "Academy Award Nominee Norbit." Sure, it's for best makeup, and considering that the makeup branch loves the hell out of Rick Baker it would've been madness NOT to predict him. But think about it: Norbit, possibly the most reviled film of 2007, received more Oscar nominations than Zodiac, Before the Devil Knows You're Dead, Knocked Up, 4 Months, 3 Weeks, and 2 Days, and Control. . . COMBINED. Hard to believe, but the makeup branch has actually managed to outdo last year's Click nomination.

Simple Simon

Leonard Pierce — Thu, 20 Dec 2007 15:45:00 GMT

If there's one thing we here at the Screengrab love more than movies, it's crazy right-wing cranks. Luckily, when Roger L. Simon is around, we don't have to pick just one. Simon, who prior to co-founding doomed conservative clearinghouse Pajamas Media could boast as his greatest accomplishment having penned Scenes from a Mall, a film which brought us the delightful vision of Woody Allen going down on Bette Midler in a movie theater, has recently been on a tear about how those traitorous dogs in Hollywood, a town which apparently has corrupted everyone who sojourns there except himself, Burt Prelutsky, and Stephen Baldwin, are so alienated from real Americans that they keep making anti-war movies even though they lose money doing so. His first installment in what is shaping up to be an interminable series on the subject revealed the reason the damn dirty hippies of Tinseltown keep making these hateful anti-American screen screeds: it's because if you are a Hollywood liberal, you are, de facto, a "miserable self-serving bastard". He also makes the curious argument that people like Brian DePalma, director of Redacted, are making movies that "validate the orthodoxy", which seems to go against his point that these movies are economic failures due to the widespread support of the war displayed by most red-blooded Americans. Simon follows up that one with a claim that since Hollywood liberals know nothing of what they speak when it comes to war (an assessment with which Oliver Stone might take issue), their films are the "addled product of unacknowledged moral confusion"; he then settles back and says that since the surge is working so well, he's beginning what may be a very long wait for the Iraq War version of Casablanca. His latest on the subversive commie rats who lurk in the Hollywood hills is a hatchet job on Paul Haggis, who he first suspected of anti-American treachery when he saw Crash -- after all, Simon argues, he's lived in L.A. for years and hardly ever saw any racism, so there must not be any. Simon goes on to savage In the Valley of Elah, and 'explains' the deviltry of this life-hating scum by noting that, like Sean Penn, he is under the sway of that charismatic Stalinist cult leader Dennis Kucinich. He knows it's true, because he read it on Wikipedia! Keep up the great work, Roger.

007: Oscar Bait?

Peter Smith — Tue, 11 Dec 2007 21:00:00 GMT

The next James Bond film (which is being called Bond 22 until someone comes up with an even more meaningless title to stick on it) certainly doesn’t read like a James Bond film. In fact, it reads like a movie designed to make the Academy sit up and take notice: its director, Marc Forster, helmed two films (Monster’s Ball and Finding Neverland) that won Oscars and just completed a third, The Kite Runner, that may receive similar acclaim. Its screenwriter, Paul Haggis, has been nominated for five Oscars, has won two, and is generating huge amounts of Academy Award talk for In the Valley of Elah. And no less a source than Max von Sydow claims that the role of perennial Bond nemesis Ernst Stavro Blofeld will be played by Mathieu Amalric, who’s currently wowing the critics in The Diving Bell and the Butterfly. With Forster telling the New York Times that his vision of the character is dark and tormented, and pontificating that "the most interesting place for a James Bond movie to go is inward — deeper into Bond himself," will Bond 22 be the first 007 film to court critical respectability? Or is Forster just vaporing to defend the giant paycheck he’s going to get? — Leonard Pierce

Box-Office Quagmire

Peter Smith — Mon, 05 Nov 2007 17:00:00 GMT

Remember fifteen minutes ago, when people were complaining that nobody was making movies about Iraq? Well, while you were blinking, the octoplexes got overstuffed with movies about Iraq. The only problem is that, as A. O. Scott points out, nobody's going to see them. The films that've opened this past year — In the Valley of Elah, Rendition, The Kingdom, The Situation — have been greeted with "soft box office returns." Similar commercial fates may await the string of films currently lined up on the runway, which include Brian De Palma's Redacted and Robert Redford's Lions for Lambs, as well as Grace Is Gone, an indie tearjerker starring John Cusack as a father of two who is widowed by the war, and the adaptation of Khaled Hosseini’s best-seller The Kite Runner, set in Afghanistan during the reign of the Taliban. (As Kim Masters recently wrote in Slate, Lions for Lambs also has its own special problems: it stands to be the next exploding boxcar in the continuing train wreck of Tom Cruise's career.) For all the automatic clucking about how American audiences don't really want to see movies about real problems, some of the recent Iraq movies make it clear that there's a built-in problem in trying to make drama out of an ongoing national trauma. As Scott puts it: "What is missing in nearly every case is a sense of catharsis or illumination. This is hardly the fault of the filmmakers. Disorientation, ambivalence, a lack of clarity — these are surely part of the collective experience they are trying to examine. How can you bring an individual story to a satisfying conclusion when nobody has any idea what the end of the larger story will look like?" — Phil Nugent