Friday, February 20, 2015

Story 70: Bluebeard’s Castle of Horrors (The Ride)



            I’ve had the best idea ever: with all those rumors floating around about me allegedly killing all of my wives, I finally decided, why not make the best of a bad situation and get people to pay me on top of it?  So I built a haunted house attraction "based upon my life” and will charge visitors to have the bejeezus scared out of them, thinking that all the horrors they had heard about me are true, right up until they exit safely out the back door.  Genius, no?
            I took my new wife, Judith, as my first guest, thinking it would be a fun way to start the marriage (plus I wanted some risk-free feedback before the go-live date).  She’s a great girl, but a little skittish – who can blame her, seeing as she had to leave her family for me, especially with my (undeserved) reputation and all?  I thought it would be best to make it a surprise, so I could evaluate her authentic reactions.
            “Here’s our new home!”  I announced as we arrived.  The “Bluebeard’s Castle of Horrors” sign that I had ordered had been hung snugly yet threateningly over the portcullis, and I made sure that we passed by a hole in the ground with a mound of dirt and a shovel that could pass for a newly-dug grave.
            “Uhhh….” Judith replied.  She’s such a sweetheart.
            “Let me show you around!”  I warmly grabbed her arm and dragged her into the main hall.  The lights obligingly went out and the thunder effect boomed beautifully.
            Judith screamed as I lit a torch.  “Where are you?!”
            “Right here, my love!  Are you scared?”  I honestly wanted to know; the first scare sets the tone for the entire ride.
            “N-no,” she lied, bravely.  “I love you, Bluebeard!”
            That was random.  “Love you, too.  Now, there are seven doors, all locked –”
            “Give me the keys and open them all!”  A little rushed, there.
            “Now, now – you only get to see one at the moment.”  Always drag out the suspense for as long as possible, till they can’t take it anymore.  I gave her a key and she quickly unlocked the first door as I loomed behind her in anticipation.
            “A torture chamber!”
            “Yes!  Isn’t it delicious?  Are you scared?”
            “I love you, Bluebeard!”  Not quite an appropriate response, but her pale face and trembling hands gave me the answer I was looking for.  This was going well, I could see.

            “Give me the other keys!”  she screeched.  For effect, I “grudgingly” handed them over, and we went through each room one by one.  Most were off-puttingly normal – in one of them, I finally gave her some jewels that I had bought during our honeymoon, to give her a false sense of security – but the last room was the coup de grâce: it was The Room That Must Not Be Seen But Everyone Goes in Anyway.
              I gave her the last key:  “Are you scared?”
            “I love you, Bluebeard!”
            That was getting a little tiresome.  “On a scale of 1 to 5, with 5 being the highest, what would you say your level of fear at this moment is?”
            “I love you –”
            “Ah, forget it, just open the door!”  Yes, I was being unprofessional, but we had to keep up the momentum.
            She opened the door to reveal a room with three heads on a table.
            “Who… are… those?”  She shakily pointed at them.
            “My dead wives!”  Sick, I know, even if they were just paper mache, but I feel that the best way to counter slander is to shove it back in the gossips’ faces.  It shows both that I have an intellectual sense of irony and that I’m “in on the joke”.
            “Aiiiiiiii!!!!!!!!”  Judith ran out of the castle and stole my car in her escape.  She won’t get far: she had to use the valet key, plus she forgot that I was holding her purse, gentleman that I am. 
            I think this test run went extremely well.  With Judith's ringing endorsement, I'm so excited for opening night!

Thursday, February 12, 2015

Story 69: Meditations During an Action Movie



            So I’m in the theater on the opening weekend of the latest sci-fi blockbuster and I’m watching the space battle, and there’s lasers firing and spaceships swooping and pilots making grunting faces as they fly and shoot their cannons and the one ship is chasing another through an exploding star, and it’s all very busy.  And about halfway through this, I start thinking:
            Wait a minute – if the heroine is from the main characters’ future, how come she doesn’t remember who wins this?
            Since the bad guys control all means of production in the galaxy, where did the good guys get all their ships `n stuff?  Did they have to steal it?  Would that make them bad?
            Is that brooding pilot going to turn traitor in the Second Act?  He has the tragic backstory for it.
            Why does the actor who plays The Regent have top billing when we’re an hour into the movie and he’s barely been on screen?  Is it because he hasn’t been in a movie for 10 years?
            If space is a vacuum, how come we can see the lasers and hear the explosions?
            If space is a vacuum, how come that guy didn’t explode when he was kicked off the ship without a pressurized suit?  It would have been disgusting, but accurate.
            Why did I get charged the evening price for my ticket when the show started at 4:00?
            Did I leave the dryer on when I left the house?
            How much time did it take to create all those effects shots?
            How much money did this sequence cost, and will the money the movie earns make up for the expense?
            Do the people working on the film get paid no matter what, even if it bombs?  If it doesn’t make a profit, does anyone have to give back the difference to the producers?
            How long do you have to be in the industry before you can ask for a share in the profits?  Is that only for the “creative talent”, or can someone like the set carpenter ask for that?
            Is time real, or is it only a human construct?
            That was when I realized that a whole lot of nothing was happening on the screen, and I felt a little sorry for everyone involved in making something so frenetic so boring.
            That CG supernova is very pretty, though.

Thursday, February 5, 2015

Story 68: The Origins of "Swan Lake", Ballet



(Note: I have no idea how the ballet of Swan Lake came to be commissioned)

(An office in 1800s Russia)
Ballet Theater Company Owner: Ah, Pyotr!  Come in, my friend!
Tchaikovsky: (Enters and sits in front of the owner’s desk) Thank you.  Did you listen to the music yet?
Owner: Did I ever!  It was amazing – haunting – moving – any complimentary adjective ending in “ing”!  And the tale couldn’t be more tragic: Romeo and Juliet meets enchanted women-birds!  And I love how our prima ballerina can dance not just one but two main roles!  I tell you, the audience will be weeping so much by the end of Act I, the tears can be used to fill the lake at the end of Act II!
Tchaikovsky: Thank you very much; it means a lot to me that your company will perform it.
Owner: But of course!  I will have you meet with our choreographer later today so you can give him some notes.
Tchaikovsky: Notes?
Owner: You know, where to have the dancers go and such, so his vision will match yours.  Just give me an idea: starting from Act I, tell me briefly what you want the dancers to be doing during each movement.
Tchaikovsky: Oh, well, in the beginning, Siegfried is being knighted, and he is happy about that, so he dances.
Owner: Yes, yes.
Tchaikovsky: His family, friends, and servants join him for a bit, but there is a section where it is only him dancing while everyone can just sit and watch, I suppose.
Owner: I see.
Tchaikovsky: Some ladies can dance with him at times, just to mix it up a little, if you want.
Owner: Perhaps.
Tchaikovsky: Then, the Evil Genius leads Siegfried to The Lake.
Owner: Oh yes, the oboe and harp bit!  So chilling.
Tchaikovsky: Yes, I gave myself goosebumps while I was writing it.  That is when all the swan-women make their entrance – they probably should be flapping their arms a lot so the audience knows they also are birds.
Owner: But aren’t they ladies at that point?
Tchaikovsky: They are, but they have been swans during the day for so long that they have started to identify as them.  Their costumes should reflect this mental state.
Owner: Hmmmmm….
Tchaikovsky: Odette then makes her grand entrance and has several solo pieces – I do not mind if the show stops dead multiple times for the ballerina to take her bows at the end of each of her dances.
Owner: Thank you – it happens frequently in our productions.
Tchaikovsky: Good, because between her dancing as Odette and dancing as Odile, I think this may happen about six times throughout the show.  Siegfried joins her on a few, so factor in his bows as well.
Owner: Not necessary – no one cares about the guy.
Tchaikovsky: All right, the choreographer can figure all that out.  For Act II, Siegfried’s mamma parades ladies from different countries in front of her son so he can choose one to marry – many showcases there.
Owner: As in –
Tchaikovsky: Group dances, individual dances, pas de deux, pas de trois, the whole deal.  Everyone else on stage sits and watches again.
Owner: Hm, I don’t like paying dancers to sit.
Tchaikovsky: Maybe you can rotate the performers?  Anyway, Odile and the Evil Genius make their grand entrance, and more solos and dances with Siegfried –
Owner: And literally show-stopping bows –
Tchaikovsky: Of course, until Siegfried mutely declares that he will marry her thinking that she is Odette, then it is painfully revealed that Odette is a separate person and he really is marrying her evil doppelganger.
Owner: How?
Tchaikovsky: How… what?
Owner: How is this revealed?  They’re played by the same dancer!
Tchaikovsky: I don’t know, have one of them behind a curtain or something!  The bottom line is, black swans and white swans dance, Odette eventually returns to the stage –
Owner: Argh, another solo.
Tchaikovsky: She dances with Siegfried, the Evil Genius either kills her or she kills herself, depending on which mood you are in, Siegfried is sad and wants to join her, and curtain.
Owner: You have me wondering now why the Evil Genius went through all this in the first place.  If he wanted Siegfried to marry Odile, shouldn’t he have led Siegfried to her instead of to Odette in Act I?  The boy seems to have a thing for swans, so what difference would it have made if Odile was there first?
Tchaikovsky: They are not swans!  They are women enchanted to be swans by day!
Owner: That’s an oddly specific curse – did you ever look into the Evil Genius’s backstory for his motivation?  I’m just curious.
Tchaikovsky: That is not the point!  The point is the music!  And the dance!  And the emotion!
Owner: And the money.
Tchaikovsky: The money helps.