For those of you keeping track, two new columns have been posted over at
The Poop Shoot and Freddie Prinze, Jr. (Figuratively, of course.)
The first column was the result of my fond memories of the first Scream film, which I saw with my friend Zack on opening night, purely on a whim. If memory serves, the film had had something of a low-key ad campaign, and horror had been a dead genre for years, so the quality of the movie was a genuine surprise to everyone in the audience. How things changed in the four years between the first and the third. Scream 2 ("The Screamening") could never have matched the original's sucker punch thrill, but it was still fun, albeit nowhere near as clever as the first. Still, my hopes were high that the third film would be a return to form, although the loss of the original screenwriter didn't bode well for the enterprise. (Then again, his name isn't exactly a sure sign of quality either...) At least, I hoped, they would have a better killer than the sister from Roseanne, right?
Um, no. Not even close. They got Noel from Felicity.

Oooh. Scary.Now, one of the big talking points about Scream 3 was that the filmmakers shot three endings (or maybe just wrote three, I don't recall). Or so they claimed. Nowhere could I find any sort of mention about what the other two endings were (although I didn't have the stomach to listen to more than a portion of the director's commentary), but I bet they were better than the "whiny brother" one that they went with.
Originally, my concept was that I was going to reveal the other two endings, but that felt like it would wind up either too short or requiring lots of padding to get it to a respectable length. But the idea of Sidney discovering that the man who was tormenting her life for the last several years was, in fact, the RA from Felicity seemed promising, so I went with that:Ghostface: The other half of you. I searched for a mother too, an actress named Rina Reynolds. Tried to find her my whole life. And four years ago, I actually tracked her down. Knocked at her door, thinking she'd welcome me with open arms, but she had a new life, and a new name: Maureen Prescott. You were the only child she claimed, Sidney. She shut me out in the cold forever. Her own son! [Pulls off his mask.]Sidney: But you're...
Ghostface: Yes. Yes, I am!
Sidney: ...the guy from "Felicity"?
Ghostface: The man who really killed... Wait, what? No!
Fun bit to write. It could probably stand to lose the whole digression at the end, but I wanted to have the characters go into the sort of metatextual discussion that made the first film so much fun. (That said, dialogue columns always seem a lot longer than they really are because there's usually lots of returns.)
Then, for last week's column, I wound up writing about the merits of one Freddie Prinze, Jr.

He's been on my list for a while, and so when my girlfriend pointed out one of his box covers in the video store it seemed like as good a time as any, particularly since he has a sitcom coming up this season. And, really, what has this man contributed to society? Apart from "Fred" in
Scoobie-Doo (and even that's not much of a stretch), he always plays the same character in his films, which I have to assume isn't too far removed from his own personality: bland, frat-boyish, and devoid of any real flaws or depth of any kind. It's hard to hate the characters he plays, but it's hard to care about them either. They're just sort of
there... And watching three of his movies, I had to wonder what the appeal was, beyond the usual vacant, teen-idoly thing that teenage girls latch onto now and then and later discard after about three years. (See David Cassidy, Leif Garrett, the New Kids, etc.)
The movies themselves were universally awful, as though the producers knew that the target audience wouldn't care one way or the other. Two of the three (Wing Commander and Down to You) were practically incoherent, with plots that made no sense and had massive holes, and characters that were stereotypical, idiotic, and wildly inconsistent. Head Over Heels' story was at least followable, but reduced its characters to plot devices. All three movies made me want to punch someone.
Trying to find a unified thread through the movies wasn't hard. Basically, the question is, "Why is this guy even a movie star?" I fell back on the technique of making it a science question, AKA the old "science has long wondered..." question. As though science gives a crap about Freddie Prinze, Jr. (Then again, about once a month the papers run some story about some scientists who got a grant to study, I don't know, dog farts or somesuch.) I'd used a similar approach in the infamous Andie MacDowell column, to reasonable success. The difficult part was not repeating myself. I think I succeeded, mostly. I toyed with the idea of pretending that every one of Freddie's movies is actually about Freddie being a killer robot from the future, but that plot always gets cut out. (I still like that idea, actually. Maybe some other time.) That joke only survived in the intro paragraph:
Attempts to explain not only the existence of a Freddie Prinze, Jr., as well as the enduring appeal of a man who has all the personality of a dry erase board have ranged from the serious (Prinze is a robot from the future sent back to kill us all) to the silly (Prinze is a robot from the future sent back to buy us York Peppermint Patties), but so far none have managed to sufficiently encapsulate the Prinze Mystique.
As I was approaching the end, as usual, I was struggling with how to end it. The idea of pretending that one of Freddie's action films is, in fact, a romantic comedy seemed promising, but it still needed a kicker. And then it hit me: The whole science thing created a lovely sort of parallel with the whole "intelligent design" fuss. I won't spoil the parallel, but it still makes me chuckle (although not as much as, say, the phrase "Hold me closer, Tony Danza").
Anyway, go read.