This post is part of Fan Theory Fridays, in which we share and explore a new fan theory about a film, television series, book, or other fictional narrative.
Like a lot of people, I like the show Black Mirror. I enjoy watching it, even when it’s overly dark or predictable or not quite as smart as it thinks it is.
But if there’s one episode of Black Mirror that I have a particularly hard time with, it’s the fourth season’s “Crocodile”. My frustration is not over the bleakness of the episode, nor the the violence.
This episode.
Sure, it’s a bleak and brutal episode: by the end of it, central character has murdered four people, including a child. But that’s okay. It’s Black Mirror and Black Mirror is a brutal, unapologetic show. At least half the episodes end with an escalation into hopelessness, fueled by technology and desperation.
This post is part of Fan Theory Fridays, in which we share and explore a new fan theory about a film, television series, book, or other fictional narrative. For more on what a fan theory is—and what it isn’t—please read D. F. Lovett’s previous explorations of the subject.
During a recent viewing of The Departed—a film I saw twice in theaters, have blogged about before, and have seen somewhere between 10 and 1000 times—something occurred to me. Something I hadn’t considered before. A question that seemed unanswered.
That question is this: was Staff Sergeant Dignam normally a nice guy?
“Maybe. Maybe Not. Maybe Fuck Yourself.”
This fan theory’s origin rests in one simple, throwaway line delivered by Alec Baldwin as Ellerby. The line occurs around the 25 minute mark. Baldwin delivers it at the end of a briefing scene, during which Dignam insults a team of cops investigating Frank Costello, including the resident FBI agent who is cooperating on the case.
One of his best scenes, and the one that inspired this fan theory,
At the end of the conversation—after insulting the FBI agent, the entirety of the room, Ellerby and Ellerby’s wife—Dignam departs on the line that “…feds are like mushrooms. Feed ’em shit and keep ’em in the dark.””
Baldwin’s subsequent line in this scene is the following, referring to Dignam after Dignam leaves the room:
“Normally, he’s a very, uh, nice guy. Don’t judge him from this meeting alone.”
Of course, the entirety of this theory rests on Ellerby’s statement in this scene being taken at face value. This might seem challenging, at first, considering that all of Dignam’s behavior throughout the film suggests he is anything but a nice guy. Continue reading “The Departed Fan Theory: Mark Wahlberg’s Dignam Used to Be Nice”→
This post is part of Fan Theory Fridays, in which we share and explore a new fan theory about a film, television series, book, or other fictional narrative. For more on what a fan theory is—and what it isn’t—please read D. F. Lovett’s previous explorations of the subject.
Much talk is made every year about whether or not Die Hard is a Christmas film. This article does not seek to resolve, or even directly address, that debate.
Instead, I’d like to highlight one aspect of that film that occurred to me on a recent viewing. While it’s never stated in either Die Hard or any of its sequels, I think that a close viewing of Die Hard suggests that John McClane is a huge Christmas guy. Like, a major Christmas guy. And that this detail of his personality explains a lot of his behavior throughout the film.
“Got any Christmas music?”
During the first scenes—and opening credits—of Die Hard, a few details are revealed in short succession about John McClane:
He doesn’t like flying
He’s married
He’s a New York City cop (and has been for eleven years)
He smokes cigarettes
He brought an oversized teddy bear on the flight, presumably as a gift for someone
His wife lives in California and he lives in New York and he doesn’t like talking about it
But there is one more detail about him. A subtle one, that isn’t stated as blatantly as the other exposition above… John McClane likes Christmas music.
Before the Die Hard title card flashes onscreen, the limo driver Argyle puts a cassette in and Run-DMC’s “Christmas in Hollis” begins to play.
John McClane: Don’t you got any Christmas music?
Argyle: This is Christmas music.
Now, let’s reconsider everything we’ve seen until this moment. John McClane is anxious, confused, overwhelmed, and doesn’t seem to like California very much. He’s also carrying a giant teddy bear with a big red bow on it. Is he anxious because he’s about to see his estranged wife?
This post is part of a new series called Fan Theory Fridays, in which we share and explore a new fan theory about a film, television series, book, or other fictional narrative. For more on what a fan theory is—and what it isn’t—please read D. F. Lovett’s previous explorations of the subject.
One of my favorite films in the Marvel Cinematic Universe is 2017’s Spiderman: Homecoming, starring Tom Holland as Peter Parker (Spider-Man) and Robert Downey Jr. as Tony Stark (Iron Man). While I haven’t yet seen the new Spider-Man: Into the Spiderverse animated film, its release did inspire me to re-watch Spider-Man: Homecoming… which, in turn, inspired a new, minor fan theory.
A theory about this guy and his sorta father figure
A Radically Condensed Summary of Spider-Man: Homecoming
Part of the film’s appeal is its relatively simple narrative. Unlike most Marvel films, it contains only two superheroes and a straightforward coming-of-age plot. There’s no convoluted storyline, no over-elaborate villain backstory, no shoehorning-in of extraneous characters. It doesn’t even bog itself down with an origin story or a montage dedicated to learning superpowers.
The plot is, more or less, this: Peter Parker tries to a) be his friendly neighborhood Spider-Man and stop a bad guy from doing some bad things b) impress a girl at school and c) impress Tony Stark enough to join the Avengers.
He succeeds in all three, to varying extents, enough so that the film ends with Tony Stark inviting Parker to the Avengers headquarters in upstate New York and giving him a “welcome to the team” speech. Said speech ends with one of the better lines Stark has had:
There’s about fifty reporters behind that door. Real ones, not bloggers. When you’re ready, why don’t you try that on [gesturing to a new Spider-Man suit] and I’ll introduce the world to the newest official member of the Avengers. Spider-Man.
The scene in question. Which yes, while good, does remind one of Tony Stark’s terrible fashion sense.
It’s a great line, both because it’s very fitting for Tony Stark and because of, well, the degree of truth to it.
The controversy you missed because only bloggers care
This post is the first in a new series called Fan Theory Fridays, in which we will share and explore a new fan theory about a film, television series, book, or other fictional narrative. For more on what a fan theory is—and what it isn’t—please read D. F. Lovett’s previous explorations of the subject.
I thought I hated Home Alone.
So when a friend invited me to attend a matinee viewing of it at the new Parkway Theater in south Minneapolis, I wasn’t sure whether to accept. The idea of watching the film did not spark nostalgic giddiness or ironic snark, but more a sense of nameless dread that I would be trapped in a dark room for two hours with a swarm of squirming children and a few of my fellow childless buddies, wondering why we had thought this a good idea.
Classic.
Of course, despite my dread, there were a few reasons I went. Namely: my friend had already bought the tickets and he assured me it would be “more hipsters than children”. That, and as he reminded me, “it’s a John Hughes movie with Joe Pesci, John Candy, and Katherine O’Hara in it.” Finally, I’m currently writing a novel partially set in the ‘90s and I thought it would be good to subject myself to a forced trip down memory lane.
Here’s the thing about Home Alone: I was pleasantly surprised. It’s a much better film than I remember it being and probably a better film than you remember it being. The plot structure should be taught in film school. The performances are sublime. The John Williams soundtrack is masterful.
There was, however, one thing that threw me off about the film: it was both much darker and more vaguely supernatural than I recalled it being.
I remembered the bed wetting subplot but had no memory of Kevin’s uncle calling him “a little jerk” or the objectively bad parenting that resulted in Kevin being left home alone in the first place. I remembered John Candy’s role as a polka king but had forgotten his haunting story about forgetting his own child in a funeral home for an entire day.
I remembered the scary old man and Buzz’s tall tale that he was a murderer or something. I did not remember that his name was Old Man Marley. I did not remember his story about being estranged from his son. I didn’t even remember him serving as a Deus Ex Machina, arriving to save Kevin from what would have been certain death at the hand of two bumbling crooks who, in the film’s final moments, escalate from cat burglars to attempted child murderers.
While Home Alone is indeed better than I remember it, that’s not what I’m writing about today.
