Chuck Klosterman On Film And Television
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Authors: Chuck Klosterman
A Collection of Previously Published Essays
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Essays in this work were previously published in
Sex, Drugs, and Cocoa Puffs
copyright © 2003, 2004 by Chuck Klosterman,
Chuck Klosterman IV
copyright © 2006, 2007 by Chuck Klosterman, and
Eating the Dinosaur
copyright © 2009 by Chuck Klosterman.
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Manufactured in the United States of America
ISBN 978-1-4516-2478-6
Portions of this work originally appeared in
Esquire
and on
SPIN.com
.
From
Sex, Drugs, and Cocoa Puffs
The Awe-Inspiring Beauty of Tom Cruise’s Shattered, Troll-like Face
From
Chuck Klosterman IV
From
Eating the Dinosaur
This Is Emo
No woman will ever satisfy me. I know that now, and I would never try to deny it. But this is actually okay, because I will never satisfy a woman, either.
Should I be writing such thoughts? Perhaps not. Perhaps it’s a bad idea. I can definitely foresee a scenario where that first paragraph could come back to haunt me, especially if I somehow became marginally famous. If I become marginally famous, I will undoubtedly be interviewed by someone in the media,
1
and the interviewer will inevitably ask, “Fifteen years ago, you wrote that no woman could ever satisfy you. Now that you’ve been married for almost five years, are those words still true?” And I will have to say, “Oh, God no. Those were the words of an entirely different person—a person whom I can’t even relate to anymore. Honestly, I can’t image an existence without _____. She satisfies me in ways that I never even considered. She saved my life, really.”
Now, I will be lying. I won’t really feel that way. But I’ll certainly
say
those words, and I’ll deliver them with the utmost sincerity, even though those sentiments will not be there. So then the interviewer will undoubtedly quote lines from
this
particular paragraph, thereby reminding me that I swore I would publicly deny my true feelings, and I’ll chuckle and say, “Come on, Mr. Rose. That was a literary device. You know I never really believed that.”
But here’s the thing: I
do
believe that. It’s the truth now, and it will be in the future. And while I’m not exactly happy about that truth, it doesn’t make me sad, either. I know it’s not my fault.
It’s no one’s fault, really. Or maybe it’s everyone’s fault. It 1 should be everyone’s fault, because it’s everyone’s problem. Well, okay… not
everyone
. Not boring people, and not the profoundly retarded. But whenever I meet dynamic, nonretarded Americans, I notice that they all seem to share a single unifying characteristic: the inability to experience the kind of mind-blowing, transcendent romantic relationship they perceive to be a normal part of living. And someone needs to take the fall for this. So instead of blaming no one for this (which is kind of cowardly) or blaming everyone (which is kind of meaningless), I’m going to blame John Cusack.
I once loved a girl who almost loved me, but not as much as she loved John Cusack. Under certain circumstances, this would have been fine; Cusack is relatively good-looking, he seems like a pretty cool guy (he likes the Clash and the Who, at least), and he undoubtedly has millions of bones in the bank. If Cusack and I were competing for the same woman, I could easily accept losing. However, I don’t really feel like John and I were “competing” for the girl I’m referring to, inasmuch as her relationship to Cusack was confined to watching him as a two-dimensional projection, pretending to be characters who don’t actually exist. Now, there was a time when I would have thought that detachment would have given me a huge advantage over Johnny C., inasmuch as
my
relationship with this woman included things like “talking on the phone” and “nuzzling under umbrellas” and “eating pancakes.” However, I have come to realize that I perceived this competition completely backward; it was definitely an unfair battle, but not in my favor. It was unfair in Cusack’s favor. I never had a chance.
It appears that countless women born between the years of 1965 and 1978 are in love with John Cusack. I cannot fathom how he isn’t the number-one box-office star in America, because every straight girl I know would sell her soul to share a milkshake with that motherfucker. For upwardly mobile women in their twenties and thirties, John Cusack is the neo-Elvis. But here’s what none of these upwardly mobile women seem to realize: They don’t love John Cusack. They love Lloyd Dobler. When they see Mr. Cusack, they are still seeing the optimistic, charmingly loquacious teenager he played in
Say Anything,
a movie that came out more than a decade ago. That’s the guy they think he is; when Cusack played Eddie Thomas in
America’s Sweethearts
or the sensitive hit man in
Grosse Pointe Blank,
all his female fans knew he was only acting… but they assume when the camera stopped rolling, he went back to his genuine self… which was someone like Lloyd Dobler… which was, in fact, someone who
is
Lloyd Dobler, and someone who continues to have a storybook romance with Diane Court (or with Ione Skye, depending on how you look at it). And these upwardly mobile women are not alone. We all convince ourselves of things like this—not necessarily about
Say Anything,
but about any fictionalized portrayals of romance that happen to hit us in the right place, at the right time. This is why I will never be completely satisfied by a woman, and this is why the kind of woman I tend to find attractive will never be satisfied by me. We will both measure our relationship against the prospect of fake love.
Fake love is a very powerful thing. That girl who adored John Cusack once had the opportunity to spend a weekend with me in New York at the Waldorf-Astoria, but she elected to fly to Portland instead to see the first U.S. appearance by Coldplay, a British pop group whose success derives from their ability to write melodramatic alt-rock songs about fake love. It does not matter that Coldplay is absolutely the shittiest fucking band I’ve ever heard in my entire fucking life, or that they sound like a mediocre photocopy of Travis (who sound like a mediocre photocopy of Radiohead), or that their greatest fucking artistic achievement is a video where their blandly attractive frontman walks on a beach on a cloudy fucking afternoon. None of that matters. What matters is that Coldplay manufactures fake love as frenetically as the Ford fucking Motor Company manufactures Mustangs, and that’s all this woman heard. “For you I bleed myself dry,” sang their blockhead vocalist, brilliantly informing us that stars in the sky are, in fact, yellow. How am I going to compete with that shit? That sleepy-eyed bozo isn’t even making sense. He’s just pouring fabricated emotions over four gloomy guitar chords, and it ends up sounding like love. And what does that mean? It means she flies to fucking Portland to hear two hours of amateurish U.K. hyperslop, and I sleep alone in a $270 hotel in Manhattan, and I hope Coldplay gets fucking dropped by fucking EMI and ends up like the Stone fucking Roses, who were actually a better fucking band, all things considered.
Not that I’m bitter about this. Oh, I concede that I may be taking this particular example somewhat personally—but I do think it’s a perfect illustration of why almost everyone I know is either overtly or covertly unhappy. Coldplay songs deliver an amorphous, irrefutable interpretation of how being in love is supposed to feel, and people find themselves wanting that feeling for real. They want men to adore them like Lloyd Dobler would, and they want women to think like Aimee Mann, and they expect all their arguments to sound like Sam Malone and Diane Chambers. They think everything will work out perfectly in the end (just like it did for Helen Fielding’s Bridget Jones and Nick Hornby’s Rob Fleming), and they don’t stop believing, because Journey’s Steve Perry insists we should never do that. In the nineteenth century, teenagers merely aspired to have a marriage that would be better than that of their parents; personally, I would never be satisfied unless my marriage was as good as Cliff and Clair Huxtable’s (or at least as enigmatic as Jack and Meg White’s).
Pundits are always blaming TV for making people stupid, movies for desensitizing the world to violence, and rock music for making kids take drugs and kill themselves. These things should be the least of our worries. The main problem with mass media is that it makes it impossible to fall in love with any acumen of normalcy. There is no “normal,” because everybody is being twisted by the same sources simultaneously. You can’t compare your relationship with the playful couple who lives next door, because they’re probably modeling themselves after Chandler Bing and Monica Geller. Real people are actively trying to live like fake people, so real people are no less fake. Every comparison becomes impractical. This is why the impractical has become totally acceptable; impracticality almost seems cool. The best relationship I ever had was with a journalist who was as crazy as me, and some of our coworkers liked to compare us to Sid Vicious and Nancy Spungen. At the time, I used to think, “Yeah, that’s completely valid: We fight all the time, our love is self-destructive, and—if she was mysteriously killed—I’m sure I’d be wrongly arrested for second-degree murder before dying from an overdose.” We even watched
Sid & Nancy
in her parents’ basement and giggled the whole time. “That’s us,” we said gleefully. And like I said—this was the
best
relationship I ever had. And I suspect it was the best one she ever had, too.