Chuck Klosterman on Film and Television

by Chuck Klosterman

  Is this entirely the fault of laugh tracks? Nay. But canned laughter is a lucid manifestation of an anxious culture that doesn’t know what is (and isn’t) funny. If you’ve spent any time trolling the blogosphere, you’ve probably noticed a peculiar literary trend: the pervasive habit of writers inexplicably placing exclamation points at the end of otherwise unremarkable sentences. Sort of like this! This is done to suggest an ironic detachment from the writing of an expository sentence! It’s supposed to signify that the writer is self-aware! And this is idiotic. It’s the saddest kind of failure. F. Scott Fitzgerald believed inserting exclamation points was the literary equivalent of an author laughing at his own jokes, but that’s not the case in the modern age; now, the exclamation point signifies creative confusion. All it illustrates is that even the writer can’t tell if what they’re creating is supposed to be meaningful, frivolous, or cruel. It’s an attempt to insert humor where none exists, on the off chance that a potential reader will only be pleased if they suspect they’re being entertained. Of course, the reader really isn’t sure, either. They just want to know when they’re supposed to pretend that they’re amused. All those extraneous exclamation points are like little splatters of canned laughter: They represent the “form of funny,” which is more easily understood (and more easily constructed) than authentic funniness. I suppose the counter-argument is that Tom Wolfe used a lot of exclamation points, too . . . but I don’t think that had anything to do with humor or insecurity. The Wolfe-Man was honestly stoked about LSD and John Glenn. I bet he didn’t even own a TV. It was a different era!

  Build a machine that tells people when to cry. That’s what we need. We need more crying.

  1. Rosenbaum would later write a controversial nonfiction book titled Explaining Hitler, which was controversial for suggesting that Hitler was (possibly) an un-evil infant.

  2. Yes, they were related.

  Tomorrow Rarely Knows

  1 It was the 1990s and I was twenty, so we had arguments like this: What, ultimately, is more plausible—time travel, or the invention of a liquid metal with the capacity to think? You will not be surprised that Terminator 2 was central to this dialogue. There were a lot of debates over this movie. The details of the narrative never made sense. Why, for example, did Edward Furlong tell Arnold that he should quip, “Hasta la vista, baby,” whenever he killed people? Wasn’t this kid supposed to like Use Your Illusion II more than Lo-c-ed After Dark? It was a problem. But not as much of a problem as the concept of humans (and machines) moving through time, even when compared to the likelihood of a pool of sentient mercury that could morph itself into a cop or a steel spike or a brick wall or an actor who would eventually disappoint watchers of The X-Files. My thesis at the time (and to this day) was that the impossibility of time travel is a cornerstone of reality: We cannot move forward or backward through time, even if the principles of general relativity and time dilation suggest that this is possible. Some say that time is like water that flows around us (like a stone in the river) and some say we flow with time (like a twig floating on the surface of the water). My sense of the world tells me otherwise. I believe that time is like a train, with men hanging out in front of the engine and off the back of the caboose; the man in front is laying down new tracks the moment before the train touches them and the man in the caboose is tearing up the rails the moment they are passed. There is no linear continuation: The past disappears, the future is unimagined, and the present is ephemeral. It cannot be traversed. So even though the prospect of liquid thinking metal is insane and idiotic, it’s still more viable than time travel. I don’t know if the thinking metal of tomorrow will have the potential to find employment as Linda Hamilton’s assassin, but I do know that those liquid-metal killing machines will be locked into whatever moment they happen to inhabit.

  It would be wonderful if someone proved me wrong about this. Wonderful. Wonderful, and sad.

  2 I read H. G. Wells’s The Time Machine in 1984. It became my favorite novel for the next two years, but solely for textual reasons: I saw no metaphorical meaning in the narrative. It was nothing except plot, because I was a fucking sixth grader. I reread The Time Machine as a thirty-six-year-old in 2008, and it was (predictably) a wholly different novel that now seemed fixated on archaic views about labor relations and class dynamics, narrated by a protagonist who is completely unlikable. This is a trend with much of Wells’s sci-fi writing from this period; I reread The Invisible Man around the same time, a book that now seems maniacally preoccupied with illustrating how the invisible man was an asshole.

  Part of the weirdness surrounding my reinvestigation of The Time Machine was because my paperback copy included a new afterword (written by Paul Youngquist) that described Wells as an egomaniac who attacked every person and entity he encountered throughout his entire lifetime, often contradicting whatever previous attack he had made only days before. He publicly responded to all perceived slights levied against him, constantly sparring with his nemesis Henry James and once sending an angry, scatological letter to George Orwell (written after Orwell had seemingly given him a compliment). He really hated Winston Churchill, too. H. G. Wells managed to write four million words of fiction and eight million words of journalism over the course of his lifetime, but modern audiences remember him exclusively for his first four sci-fi novels (and they don’t remember him that fondly). He is not a canonical writer and maybe not even a great one. However, his influence remains massive. Like the tone of Keith Richards’s guitar or Snidely Whiplash’s mustache, Wells galvanized a universal cliché—and that is just about the rarest thing any artist can do.

  The cliché that Wells popularized was not the fictional notion of time travel, because that had been around since the sixteenth century (the oldest instance is probably a 1733 Irish novel by Samuel Madden called Memoirs of the Twentieth Century). Mark Twain reversed the premise in 1889’s A Connecticut Yankee in King Arthur’s Court. There’s even an 1892 novel called Golf in the Year 2000 that (somewhat incredibly) predicts the advent of televised sports. But in all of those examples, time travel just sort of happens inexplicably—a person exists in one moment, and then they’re transposed to another. The meaningful cliché Wells introduced was the machine, and that changed everything. Prior to the advent of Wells’s imaginary instrument, traveling through time generally meant the central character was lost in time, which wasn’t dramatically different from being lost geographically. But a machine gave the protagonist agency. The time traveler was now moving forward or backward on purpose; consequently, the time traveler now needed a motive for doing so. And that question, I suspect, is the core reason why narratives about time travel are almost always interesting, no matter how often the same basic story is retold and repackaged: If time travel was possible, why would we want to do it?

  Now, I will concede that there’s an inherent goofballedness in debating the ethics of an action that is impossible. It probably isn’t that different than trying to figure out if leprechauns have high cholesterol. But all philosophical questions are ultimately like this—by necessity, they deal with hypotheticals that are unfeasible. Real-world problems are inevitably too unique and too situational; people will always see any real-world problem through the prism of their own personal experience. The only massive ideas everyone can discuss rationally are big ideas that don’t specifically apply to anyone, which is why a debate over the ethics of time travel is worthwhile: No one has any personal investment whatsoever. It’s only theoretical. Which means no one has any reason to lie.

  2A Fictionalized motives for time travel generally operate like this: Characters go back in time to fix a mistake or change the conditions of the present (this is like Back to the Future). Characters go forward in time for personal gain (this is like the gambling subplot1 of Back to the Future Part II). Jack the Ripper used H. G. Wells’s time machine to kill citizens of the seventies in Time After Time, but this was an isolated (and poorly acted) rampage. Obviously, there is always the issue of s
cientific inquiry with any movement through time, but that motive matters less; if a time traveler’s purpose is simply to learn things that are unknown, it doesn’t make moving through time any different than exploring Skull Island or going to Mars. My interest is in the explicit benefits of being transported to a different moment in existence—what that would mean morally and how the traveler’s goals (whatever they may be) could be implemented successfully.

  Here’s a question I like to ask people when I’m 5/8 drunk: Let’s say you had the ability to make a very brief phone call into your own past. You are (somehow) given the opportunity to phone yourself as a teenager; in short, you will be able to communicate with the fifteen-year-old version of you. However, you will only get to talk to your former self for fifteen seconds. As such, there’s no way you will be able to explain who you are, where or when you’re calling from, or what any of this lunacy is supposed to signify. You will only be able to give the younger version of yourself a fleeting, abstract message of unclear origin.

  What would you say to yourself during these fifteen seconds?

  From a sociological standpoint, what I find most interesting about this query is the way it inevitably splits between gender lines: Women usually advise themselves not to do something they now regret (i.e., “Don’t sleep with Corey McDonald, no matter how much he pressures you”), while men almost always instruct themselves to do something they failed to attempt (i.e., “Punch Corey McDonald in the face, you gutless coward”). But from a more practical standpoint, the thing I’ve come to realize is that virtually no one has any idea how to utilize such an opportunity, even if it were possible. If you can’t directly explain that you’re talking from the future, any prescient message becomes worthless. All advice comes across like a drunk dialer reading a fortune cookie. One person answered my question by claiming he would tell the 1985 incarnation of himself to “Invest in Google.” That sounds smart, but I can’t imagine a phrase that would have been more useless to me as a teenager in 1985. I would have spent the entire evening wondering how it would be possible to invest money into the number 1 with one hundred zeros behind it.

  It doesn’t matter what you can do if you don’t know why you’re doing it.

  2B I’ve now typed fifteen hundred words about time travel, which means I’ve reached the point where everything becomes a problem for everybody. This is the point where we need to address the philosophical dilemmas embedded in any casual discussions about time travel, real or imagined. And there are a lot of them. And I don’t understand about 64 percent of them. And the 36 percent I do understand are pretty elementary to everyone, including the substantial chunk of consumers who are very high and watching Anna Faris movies while they read this. But here we go! I will start with the most unavoidable eight:

  1. If you change any detail about the past, you might accidentally destroy everything in present-day existence. This is why every movie about time travel makes a big, obvious point about not bringing anything from the present back in time, often illustrated by forcing the fictionalized time traveler to travel nude. If you went back to 60,000 BC with a tool box and absentmindedly left the vise grip behind, it’s entirely possible that the world would technologically advance at an exponential rate and destroy itself by the sixteenth century.2 Or so I’m told.

  2. If you went back in time to accomplish a specific goal (and you succeeded at this goal), there would be no reason for you to have traveled back in time in the first place. Let’s say you built a time machine in order to murder the proverbial “Baby Hitler” in 1889. Committing that murder would mean the Holocaust never happened. And that would mean you’d have no motive for going back in time in the first place, because the tyrannical Adolf Hitler—the one you despise—would not exist. In other words, any goal achieved through time travel would eliminate the necessity for the traveler to travel. In his fictional (and pathologically grotesque) oral history Rant, author Chuck Palahniuk refers to this impasse as the Godfather Paradox: “The idea that if one could travel backward in time, one could kill one’s own ancestor, eliminating the possibility said time traveler would ever be born—and thus could never have lived to travel back and commit the murder.” The solution to this paradox (according to Palahniuk) is the theory of splintered alternative realities, where all possible trajectories happen autonomously and simultaneously (sort of how Richard Linklater describes The Wizard of Oz to an uninterested cab driver in the opening sequence of Slacker). However, this solution is actually more insane than the original problem. The only modern narrative that handles the conundrum semi-successfully is Richard Kelly’s Donnie Darko, where schizophrenic heartthrob Jake Gyllenhaal uses a portal to move back in time twelve days, thereby allowing himself to die in an accident he had previously avoided. By removing himself from the equation, he never meets his new girlfriend, which keeps her from dying in a car accident that was his fault. More important, his decision to die early stops his adolescence from becoming symbolized by the music of Tears for Fears.

  3. A loop in time eliminates the origin of things that already exist. This is something called “the Bootstrap Paradox” (in reference to the Robert Heinlein story “By His Bootstraps”). It’s probably best described by David Toomey, the author of a book called The New Time Travelers (a principal influence on season five of Lost). Toomey uses Hamlet as an example: Let’s suppose Toomey finds a copy of Hamlet in a used-book store, builds a time machine, travels back to 1601, and gives the book to William Shakespeare. Shakespeare then copies the play in his own handwriting and claims he made it up. It’s recopied and republished countless times for hundreds of years, eventually ending up in the bookstore where Toomey shops. So who wrote the play? Shakespeare didn’t. Another example occurs near the end of Back to the Future: Michael J. Fox performs “Johnny B. Goode” at the school dance and the tune is transmitted over the telephone to Chuck Berry3 (who presumably stole it). In this reality, where does the song come from? Who deserves the songwriting royalties?

  4. You’d possibly kill everybody by sneezing. Depending on how far you went back in time, there would be a significant risk of infecting the entire worldwide population with an illness that mankind has spent the last few centuries building immunity against. Unless, of course, you happened to contract smallpox immediately upon arrival—then you’d die.

  5. You already exist in the recent past. This is the most glaring problem and the one everybody intuitively understands—if you went back to yesterday, you would still be there, standing next to yourself. The consequence of this existential condition is both straightforward and unexplainable. Moreover . . .

  6. Before you attempted to travel back in time, you’d already know if it worked. Using the example from problem number 5, imagine that you built a time machine on Thursday. You decide to use the machine on Saturday in order to travel back to Friday afternoon. If this worked, you would already see yourself on Friday. But what would then happen if you and the Future You destroyed your time machine on Friday night? How would the Future You be around to assist with the destroying?

  7. Unless all of time is happening simultaneously within multiple realities, memories and artifacts would mysteriously change. The members of Steely Dan (Donald Fagen and Walter Becker) met at Bard College in 1967, when Fagen overheard Becker playing guitar in a café. This meeting has been recounted many times in interviews, and the fact that they were both at Bard College (located in Annandale-on-Hudson) is central to songs like “My Old School,” which was recorded in 1973. But what if Fagen built a time machine in 1980 and went back to find Becker in 1966, when he was still a high school student in Manhattan? What would happen to their shared personal memories of that first meeting in Annandale? And if they had both immediately moved to Los Angeles upon Becker’s graduation, how could the song “My Old School” exist (and what would it be about)?

  8. The past has happened, and it can only happen the way it happened. This, I suppose, is debatable. But not by Bruce Willis. In Terry Gilliam’s Twel
ve Monkeys, Willis goes back in time to confront an insane Brad Pitt before Pitt releases a virus that’s destined to kill five billion people and drive the rest of society into hiding (as it turns out, Pitt is merely trying to release a bunch of giraffes from the Philadelphia Zoo, which is only slightly more confusing than the presence of Madeleine Stowe in this movie). What’s distinctive about Twelve Monkeys is that the reason Willis is sent back in time is not to stop this catastrophe from happening, but merely to locate a primitive version of the virus so that scientists can combat the existing problem in the distant future (where the remnants of mankind have been to forced to take refuge underground). Willis can travel through time, but he can’t change anything or save anyone. “How can I save you?” he rhetorically asks the white-clad dolts who question his sudden appearance in the year 1990. “This already happened. No one can save you.” Twelve Monkeys makes a lot of references to the “Cassandra complex” (named for a Greek myth about a young woman’s inability to convince others that her prophetic warnings are accurate), but it’s mostly about predestination—in Twelve Monkeys, the assumption is that anyone who travels into the past will do exactly what history dictates. Nothing can be altered. What this implies is that everything about life (including the unforeseen future) is concrete and predetermined. There is no free will. So if you’ve seen Twelve Monkeys more than twice, you’re probably a Calvinist.