Unrelated Things I Can’t Get A Title Out Of

Last night, while reading a bit of Goblet of Fire to Brother as he ate, I noticed something funny I never had before.  Ron is complaining to Hermione about him and Harry having to go to the Yule Ball with “a couple of trolls”, and Hermione suggests he take Eloise Midgen, whose acne “is loads better now”.  Ron looks at her disgustedly and says, “Her nose is off-center.”  I always just thought that was a really funny line, that he was coming up with this dumb excuse not to take somebody who didn’t interest him at all, when I finally connected the line with another one in Philosopher’s Stone, when they’re discussing some sort of spell or plant (I think it was a plant, because I think it was Sprout who said this) that was supposed to cure pimples, and Eloise Midgen used it wrong or something, “but they were able to fix her nose back on in the end”. I  can’t believe it took me so long to notice that.  It’s hilarious.

I was reading an interview with Danny Elfman about why he didn’t want to do another Spidey, and why he didn’t foresee himself ever working with Sam Raimi again.  Apparently, Raimi became really controlling and psycho during the filming of Spidey2; the term Danny used was “micromanager”.  He wanted to do everybody else’s jobs for them; Danny said he was never like that before, that he had changed since the last time they’d worked together.  Anyway, so they couldn’t agree on anything, and Raimi wanted Danny to write something like this one cue from Hellraiser, but Danny couldn’t get close enough, and he said he wasn’t going to fucking steal Christopher Young’s work, and if they wanted Christopher Young, to just fucking hire him.  So they did, but then Christopher Young couldn’t even get close enough to his own cue to satisfy Raimi, so they just bought the rights to that single cue and used it.  I found this hilarious.  I just had this whole image of this tyrannical Raimi going insane.  “Get me that cue!  I want it!  I don’t care if it kills you!  GET IT!!”

So I wrote an official note to Dann today asking for my old Sunday through Thursday schedule back.  Hopefully this will be granted.  Otherwise, I might just snap.

I’ve been writing a lot lately.  It’s kind of worn me out temporarily.  So I’m going to stop here for tonight.


I don’t know, just randomness.

Ethan Embry (his real name is Cory) came through my line the other night, and I looked at him and chuckled a bit, then said, “You know, I still refer to you as Ethan Embry, even now…every time you come through my line, that’s what I’m thinking.”

Ethan Embry is a guy who looks remarkably like the actor and whom I pointed this out to early last year.  Like, the second or third time I ever saw him, at which point he said to me that he’d heard that like twice already.

He smiled and said, “Yeah, just the other day, somebody else came up to me and asked if I was that guy from Empire Records.”  Because Ethan Embry himself is going to UNF.  Uh-huh.  I laughed.

I was watching this old relic of film noir—Laura–on Netflix, and as we were watching it, my dad asked me who the leading lady was.  “Is that Veronica…something?” he said.  Having forgotten myself, I picked up the box and said, “No, it’s…Dana Andrews.”

“Dana Andrews?  No; that’s the detective.”

“Oh,” I said, grinning sheepishly, “well, I don’t suppose Gene Tierney is female?”

Turns out, she was.  If her name had been spelled the normal female way—Jean—I probably would have recognized Dana right away as being male.  But I can’t help it if the only Dana I’ve ever actually known is female.

I can’t think of anything else to talk about tonight, so…I’ll end there.

Phantom’s True Identity Revealed!

After having read the book, I have reached the conclusion that the Phantom who haunts the Paris Opera House is, in actuality, Jack Skellington.

Why do I believe Erik is really Jack?

First of all, here’s the version of the novel I’m using.  http://www.online-literature.com/leroux/phantom_opera/

I’m going to just present to you the specific physical descriptions of Erik as they are in the story, and you can make up your own mind.

Chapter I:  “The ghost had appeared to them in the shape of a gentleman in dress-clothes….

“You meet so many men in dress-clothes at the Opera who are not ghosts.  But this dress-suit had a peculiarity of its own.  It covered a skeleton.  At least, so the ballet-girls said.  And, of course, it had a death’s head.”

“He is extraordinarily thin and his dress-coat hangs on a skeleton frame.  His eyes are so deep that you can hardly see the fixed pupils.  You just see two big black holes, as in a dead man’s skull.  His skin, which is stretched across his bones like a drumhead, is not white, but a nasty yellow.  His nose is so little worth talking about that you can’t see it side-face; and the absence of that nose is a horrible thing to look at.  All the hair he has is three or four long dark locks on his forehead and behind his ears.”

Well, I don’t think I need to repeat that again.  Over and over, throughout the whole novel, there’s that description of the death’s head atop a skeleton body in gentleman’s wear.  Sounds like Jack to me.  And then, need I point out that both Jack and Erik really get off on scaring people…and that both of them sing like angels?

From the Annals of a Scatterbrain

I’m horrible at critiquing other people’s writing, so I just did a totally half-assed job of it.  L’Owen’s going to bite my head off in class tomorrow.

I did a—well, not even a half-assed essay for my history class last night.  I guess I just don’t feel much like doing homework these days.  I blame it all on work.

I can’t really remember what I dreamed last night—something about sewing this really cute skirt “by hand”—meaning, with nothing, not even a needle.  So…magic, then.  And I did something else the same way.  Then I woke up with “I’ve Got No Strings On Me” stuck in my head.  I know it was somehow related to the dream, but I can’t remember in what way.

Wal-Mart refuses to sell black jeans that I like, and I wore out the pair I got from them when they were cool.  I’ve got to go to the mall to find more.  They will be expensive, because Wal-Mart’s the only one with decently-priced jeans.

I’ve been so busy half-assing my way through homework I haven’t seen the new Once Upon A Time yet, so I have no idea if it’s good or not.

Sorry for my scatterbraininess tonight; I feel sort of unfocused after my homework.

Last night we had that weird chicken cordon-bleu again—the kind that’s just fried chicken with a slice of ham and melted cheese on top.  Everyone always stares at it like, “What the bloody hell is that?”  As I said to Sandra, it’s like how Superman wears his underwear on the outside—it’s backwards.  I’m going to start calling it Superman cordon-bleu.

Then we ran out of fried chicken, so Bob started bringing out this skinless stuff, and I said, “And look, now Superman is naked.”  Sandra could not stop laughing for a very long time.


Current Guy Issues

Last night I went to see Blade Runner.  And Milo came with me.  Just the two of us.  He didn’t call anybody–or if he did, nobody else showed up.  So yeah…just us two.

When it was over, we walked out to the parking lot, where I reminded him he had mail, so I went digging through my purse for…The Letter.  Because this is how I had decided to do it at last.  When I finally found it, I said, matter-of-factly, “I’ve had this for about two years; it’s sort of irrelevant now, but you need to have it, not me,” and handed it to him; then I took out the mail and things and explained the rest in the same random and matter-of-fact way.  Without missing a beat, really.  It was great.

Right, so…current guy issues.  On Friday, I asked the dishwasher out.  He said no.  I’m serious!  I totally wasn’t expecting it, either; it took me completely by surprise.

I approached him, all serious because I really wanted to know, and said, “Hey…do you want to go out with me?”

He looked at me, also very serious, and said, “No.”  Then, looking all around as if he actually expected somebody to be standing nearby, he said, “Who told you that!?”

“No, nobody…I was just asking, would you like to?”

“Oh.”  There was silence for a moment.  I had to say something.

“I’ve only got one day off a week,” I said.

“What day is that?”


Another silence.  Then, “I think I’m hanging out with my friend Chad tomorrow….”

“Oh, no that’s fine, I’m doing something tomorrow, anyway.”

Yet another silence.  Finally I said, “Well, if you’re interested…let me know,” and walked away.

I’ve got a date next week, anyway.  With John.  Here’s the problem (there is always a problem, of course).  I know he likes me, and yes, I do like him, but….  And that’s just it.  Whenever I try to explain this, I say that I like him, but…and never know how to finish the sentence.  So obviously there’s something.  I don’t know what.  I just know there was never a “but” when I used to talk about Milo.

And as far as the dishwasher goes, well that’s just what I get for trying to get involved with a younger guy.  Shame!  Never again, I swear.  I don’t know what that was.

And in another plot twist no one saw coming…

Apparently, the dishwasher quit the night I asked him out.  Nobody really knows why, but by all means, presume what you will.

A Lost Dream

I’ve been binging Lost recently, and last night I had a weirrrd Lost dream.  It was just me watching an episode of the show that I had missed but had heard about, and so I already knew everything that was going to happen—except, of course, since none of it really had happened, I didn’t know until afterward and then I was like, “Yep, that’s the way I remember hearing about it.”  So I essentially made up an episode.

I can’t remember every bit of it, unfortunately, but I think I’ve got the main things.  I always feel like there’s more to something than I can see once I’m awake, and that it’s really powerful stuff, but I believe the reason I can’t remember it after waking is that it’s so illogical the conscious human mind literally cannot comprehend it, and therefore it is forced into the Land of Forgotten Dreams and Memories.  That’s why dreams usually feel more intense and fascinating to us when we’re actually asleep.  Usually.

Anyway.  What I do remember.

Michael is chasing Sun, who is either very upset about something or is just acting very strangely….  She’s running over the island, and he’s calling her name, and all you can see is her back….

And then, slowly but definitely, the whole image sort of becomes…shimmery…and changes.  Suddenly, the two of them are running through rolling green hills, speckled with tiny white wildflowers and a few leaves.  Autumn is approaching, I guess, and it’s really windy and sort of grey-greenish like it’s about to storm.  In the far distance, to the right, you can see power lines, and you know, somehow, that there is a city in the distance.  Michael stops for a moment, taking in this sudden weird change, and says, “Whoa…we’re in New York.”

It’s weird because you simultaneously kind of know that there’s a city out there (not necessarily NYC—it really doesn’t even look like the right state, but okay), but then you also sort of feel that if Michael were to run in that direction, that he might fall off the edge of the world into some black abyss.  There was a definite dreamlike quality to this…uh…dream.  But it totally played on how I firmly believe the island’s in another dimension.  Anyway, so he turns around, and there’s, like, woods behind him, as though he had just run out of them, and he has this total, “OMGWTF!?” look on his face, but shakes it off and keeps running after Sun, shouting her name again when she suddenly collapses on her back at the top of a hill.

He reaches the top of the hill and bends over her, when he notices all of these people coming from the opposite direction—the Others.

A few of them bend over Sun, and Michael’s like, “Who are you?  What are you doing; can you help her!?” and they started taking out…sewing needles.  And one of them, much to Michael’s protests and attempts to fight, sticks it right into her chest and pulls out this long rainbowy thread, and he’s like, “WTF!?  What IS that!?” and one says, “Fiber.”  And they converse amongst themselves, some muttering, mostly in another language, and the one who spoke says again, “Moral fiber.”  And then a couple of them tackle Michael, who is in complete shock/horror, throw him to the ground, and do the same thing to him, and then they entwine the “moral fibers” of Michael and Sun, and somehow…thread it all back into Sun…?  They said something about “baby” and I thought, “Ohhh shit.”

But then…Sun was dead?  And Michael ran back into the woods, hoping to get back to the island, and I’m inwardly screaming, “RUN TO THE CITY!  NO, DON’T RUN TO THE CITY!  OH, I DON’T KNOW, WHATEVER YOU DO WILL PROBABLY KILL YOU IN THE END ANYWAY!”

He runs into the woods and stops, looking behind him on the hilltop, where Sun is still lying and the Others have gone.

Kate is wandering by herself on the island, when she discovers this tall gate, looks like it’s been there a long time.  She’s staring through—there appears to be nothing on the other side of it—when this soft, feminine voice speaks up from the other side.

“Yes, dearie, you’re supposed to be over here,” it says.  “You’re supposed to rule; you’re a princess.  That’s why you’re on this island, don’t you know?”

And suddenly you can see her—she’s half-cartoon, half-real, sort of fading between cartoon and real life, and there’s a castle behind her, some distance away, that looks very similar.  She has dark blue hair, and is wearing a long, ice-blue dress with a white fur robe around it—white fur, with like, silvery-blue tinsel interspersed among the fur, and there’s a path to this faerie-tale castle, which is kinda blue, and suddenly there are trees, and they’re blue…I’m getting a specific song stuck in my head right now, but I won’t go there.  She wants Kate to follow her.  I don’t trust her at all, but I’m really curious to see where they go, anyway.  “All you have to do is open the gate,” she says to Kate.

Flashback.  Kate’s mother (I guess?) tells her, in a motherly voice, that she is a princess.  Kate is really little here.  “But, Princess Kate, always remember—don’t talk to strangers, and never go with them, no matter how harmless they may seem, because it doesn’t mean they’re not dangerous.”

Present.  (That was a really short flashback.)  Kate is staring at this girl, and then she pushes open the gate.

Everybody else.  It seems we have some new characters—Mark Twain, Edgar Allen Poe, and George Orwell.  They’re all sort of cartoony, too, but nobody appears to notice, and it seems they’ve been on for a couple of episodes, because nobody looks at them like they’re new, either.  They really look Yellow Submarineish, especially Poe—he’s a giant bust, who stands feet above everybody else, but…on his shoulders.  He doesn’t exist below the shoulders.  Just a giant head, neck, and shoulders, who sorta slides around on the ground.

Locke has “documents” that supposedly explain exactly why they’re all on the island, and what they’re supposed to do about it.  I’m not sure where he got them.  But only about half of them will listen to him.

Suddenly, Michael comes running in yelling, “HELP!   SUN! DEAD!  OTHERS!” and Jin looks up, apparently having understood the words, “Sun” and “dead”, and everybody looks up, actually, like, “…Huh?”

Kate has followed this faerie princess into the castle, and they’re sitting at a long table, eating stuff, and the faerie princess is fawning all over her, putting blue flowers in her hair and hands, and she’s draped this big blue shawl thing over her shoulders, and wants Kate to tell everyone about her when she has returned to the island, and how Kate is to be the next ruler, after her.

It is impossible to tell what Kate is feeling through all of this, whether she trusts the girl or doesn’t.

Michael tries to take a few people back to Sun’s body, and the world changes again, and Jin, Hurley, Locke, and Sayid, who were all following him, all do the staring around like, “Whoa” thing.  And they see Sun, still lying there on the ground, and Jin cries over her.  Hurley says something inappropriately hilarious which I so wish I could remember now, but…I don’t.  I just remember laughing.  Sayid is staring out in the distance, where there are power lines, and Jin finally looks up and tries to say something in Korean that nobody understands, and he glances down at Sun again, and…she’s gone.  She’s vaporized, right out of his hands.

Kate is leaving the castle, as the faerie princess watches her closely.  As she walks, some of the blue flowers fall from her, and each one that falls on the floor melts into this blue puddle thing, and the faerie princess sort of looks melty, too, and then completely melts into the floor and materializes over each spot where a flower dropped.  At this point, I begin to wonder if she’s an evil witch wishing to take over the island, who couldn’t go past the gate by herself, which is what she is using Kate for—Kate drops flowers, and, god forbid, that shawl on the other side of the gate, and suddenly she’s unleashed the Blue Death.

And Kate’s running, out of the castle, down that path, and flowers are dropping everywhere, and the princess keeps melting and re-materializing on every new dropped flower, and Kate reaches the gate, and the princess is pissed by now and not at all lovely, if she ever really was, and she’s screaming at Kate, and Kate shakes off all the blue flowers and kicks them aside, really enraging her, and is about to run through the gate, when she remembers the shawl, and she pulls it off and throws it behind her, and then she runs through the gate and slams it, and then keeps on running, back to the island, where….

…I guess the Others have arrived.  Real people and cartoon characters are in heated battle with them.  Edgar Allen Poe glides forth, looking furious, and shouting, “CHAAAAARRRRRRRRGE!”  (I know where this comes from—I watched Arsenic and Old Lace right before bed.)  And for some reason, there’s a river right in the middle of everything, and nobody really notices as this box floats up, except Michael, Kate, and Jin, who all turn and look into it, and there’s…a baby.  A Korean baby.  …OMGWTF!?  Jin races for the box and scoops the baby up into his arms, which draws the attention of certain others, and I distinctly remember all the authors speaking in their various accents, just not what they were saying, and the battle still continues, and there’s Claire, and she says, “There are going to be two babies on this island?” and everybody’s sort of horrified but still fighting….

Michael is trying to explain to a few assembled that they’re in a freaking other universe or something, but there’s a connection to the real world, and they need to try and get back that way, all of them.  Locke is clutching his precious documents and saying they all need to figure out what their purpose on the island is, first, and begins distributing them, and Michael is like, “Man, aren’t you listening to what I’m saying!?”  Locke steps forth, very slowly, a ferocious glare in his eyes, and I think he’s going to spit on the ground to show his contempt for Michael’s ideas, but he leans over and…vomits.  Twice.  And I’m like, “…O…kay…and that’s what Locke has to say about that.”

And…was that the end?  I think it was, or at least very close to it.

What a messed-up dream….

Griping and Boy Dilemmas

Dean tells me that he and I are on L’Owen’s list of 6 strongest writers in the class.  Kick arse!  I honestly never would have expected that, but it’s cool.

So I finally found this book that I’d been looking for for yearsThe Experiment, by John Darnton.  My dad got it on tape for us to listen to on a trip to South Florida my 9th grade year, but, not being a very great listener, I decided to stop listening (despite being way into it) and check it out later instead.

Well, not knowing the author’s name, it took me a lot longer than expected to find it, and when I finally did, then it was a matter of the book being there when I was and me remembering to look for it.  I finally did, and I really enjoyed it.

Work is driving me insane.  I think I mean that literally.  I have this habit of, when one aspect of something is annoying me, finding all these other things about it that always irritate me.  That’s what’s happening at work—they won’t give me a second day off, and so every little thing is driving me up the wall.  Like the fact that we have taco night three times a week, and every single person coming through my line pisses me off just for being there.  I want to scream obscenities at them all, and am quietly doing it, too, under my breath.  A couple of times I’ve come very close to actually swearing at a customer.  I feel like having to stand there for another two hours really takes something from me, and must keep repressing the urge to get up and just walk out.

Scot (one of the bosses) came through the line tonight, asked for jalapenos, and I gave him quite a few, and he said, “Are you trying to kill me?”  I said, “Yes.”

I won’t smile at people anymore.  They piss me off too much.

I really feel like the weight of the hopelessness is driving me down—like, physically, even—I’ll stand there and feel like I’m totally going to pass out because I cannot handle it.

I swear, everything would be fine again if they’d just give me the damned day off!

Maybe things will get better.  Maybe the dishwasher will actually like me back.  That’d be something, a light through all the hopelessness.  A secret tryst that nobody else would really care about, but which would make me feel like I was somehow rebelling against the establishment.

Dishwasher!  I need a life!  Help!

Duuuude!  Just as I was about to post this, my first date ever texted me out of the blue!

And after the conversation we had, I’m thinking, “Hey…I still kinda like this guy,” and he still likes me, too…so…right.  I like Patrick, too.  And now I don’t know what the hell to do.  Obviously, I guess, get to know both of them a bit better, and find out what happens.  At any rate, two Saturdays from now I am going on my first second date ever with…my first first ever.

I’ve got to go to bed.