Sean P Carlin

Writer of things that go bump in the night

Tag: The X-Files

Under the Influence, Part 2:  The Top Five Formative Cinematic Muses from My ’80s Childhood

October 9, 2024 / / 28 Comments

Let’s play Ten for Ten!  To commemorate the ten-year anniversary of this blog, which launched on June 26, 2014, here’s an appreciation for ten of my formative cinematic influences—an examination of why these movies resonated with me when I first saw them, and how they permanently informed my aesthetic tastes and creative sensibilities.  This post is presented in three installments.

“Under the Influence, Part 1” informally ponders through personal example how an artist develops a singular style and voice all their own, and offers an analysis of Quentin Tarantino’s essay collection Cinema Speculation, the auteur’s critical look at the movies of the ’70s that inspired him.

In “Under the Influence, Part 2,” I spotlight five films from my ’80s childhood that shaped my artistic intuition when at its most malleable.

And in “Under the Influence, Part 3,” I round out the bill with five selections from my ’90s adolescence, the period during which many of the themes that preoccupy me crystalized.

Given that my childhood coincided with what Quentin Tarantino terms “the miserable eighties”—that decade of “middle-of-the-road successful films”1 during which “likeability was everything”2—the following ten cinematic specimens that impressed so notably upon my nascent imagination, accordingly, span the years 1978 through 1993.

Before we dive in, let’s stipulate what this digest isn’t.  These are not what I consider the Best Movies Ever, or even the best movies of their era, neither of which I am particularly qualified to judge.

Furthermore, they are not necessarily even my favorite movies, merely the ones that made a meaningful, lasting, and demonstrable impression on me, and whose DNA has (repeatedly) found their way into my own work.

Nor does this cover my literary or musical influences, because, as Geddy Lee suggests, the project of tracing this stuff ain’t easy; it took a surprising amount of rumination to settle upon the ten selections studied here.  (None of them are particularly obscure; if you haven’t seen all ten, you’ve at least heard of them.)

I have excluded any films that may have once held sway over me, particularly ’80s action movies (from police thrillers to sci-fi dystopias to car-worshipping petro-propaganda), whose hypermasculine spirit and/or trashy cynicism I can no longer in good conscience abide.

It must also be noted I am uncomfortably aware of how, well, white all my chosen case studies are.  The filmmakers and screenwriters are nigh exclusively straight white men, with the known exceptions of Joel Schumacher, Leslie Newman, and Janice Fischer.

What’s more, every protagonist across the board is a straight white male, several of them either explicitly or implicitly Irish American, at that.  Boys like me were very well represented in popular media back then—still are—as there are precious few actors of color to be found in any these productions, and, in those rare instances, always in small or supporting roles.

These cinematic influences are all unambiguously predicated on a heteronormative worldview and a white male perspective.  I acknowledge that.

But… as much as they (mostly) glorify white boys, they all (save one) speak to at least one of two themes that have fascinated me throughout my life, and which are the dominant subjects of my own fiction.

The first is the complicated dynamic between fathers/men and sons/boys.

The second:  the special bond of boyhood friendship, and how boys often look to each other for the emotional support they don’t get from their parents.

Men’s relationships with their fathers and their friends was a central theme of “Ted Lasso”

The stories I respond to and the stories I write are, for the most part, about straight white males.  But I consciously seek to eschew the reductive paradigms favored by Hollywood—notably the solitary antihero and middle-aged manchild—in favor of men who are competent but not superheroic, compassionate but not saintly, flawed but not cruel, and definitely not proudly antisocial, brazenly irresponsible, or comfortably violent.

In stark contrast with Tarantino’s reflexively defensive view that cinematic expressions of violence and hypermasculinity (to say nothing of the institutionalized misogyny that inspirits them) are harmless exercises in wish fulfillment, I believe commercial storytellers—particularly straight white cisgendered men—have a moral obligation to be a productive part of the cultural conversation initiated by the #MeToo movement and the George Floyd protests:

We have spent the past half-decade wrestling with ideas of gender and privilege, attempting to challenge the old stereotypes and power structures.  These conversations should have been an opportunity to throw out the old pressures and norms of manhood, and to help boys and men be more emotionally open and engaged.  But in many ways this environment has apparently had the opposite effect—it has shut them down even further. . . .

Perhaps it’s not surprising that in the grip of the culture wars, caring about boys has become subtly coded as a right-wing cause, a dog whistle for a kind of bad-faith politicking.  Men have had way more than their fair share of our concern already, the reasoning goes, and now it’s time for them to pipe down.  But for boys, privilege and harm intertwine in complex ways—male socialization is a strangely destructive blend of indulgence and neglect.  Under patriarchy, boys and men get everything, except the thing that’s most worth having:  human connection.

Silencing or demonizing boys in the name of progressive ideals is only reinforcing this problem, pushing them further into isolation and defensiveness.  The prescription for creating a generation of healthier, more socially and emotionally competent men is the same in the wider political discourse as it is in our own homes—to approach boys generously rather than punitively.  We need to acknowledge boys’ feelings, to talk with our sons in the same way we do our daughters, to hear them and empathize rather than dismiss or minimize, and engage with them as fully emotional beings.

Ruth Whippman, “Boys Get Everything, Except the Thing That’s Most Worth Having,” Opinion, New York Times, June 5, 2024

The storytellers could contribute to a meaningful shift of the cultural mindset if we summoned the moral imagination to refuse to further represent masculinity as a binary (and compulsory) choice between two equally oppressive and simplistic models of social posturing and self-identity—either he-man or Peter Pan—and dared to instead portray boys and men as human beings of nuanced emotion, as capable of expressing sympathy as they are deserving of receiving it.

Now more than ever, we need thoughtful, responsible fiction by men about men—stories that explore masculinity and manhood without invoking the same tired, narrow, noxious archetypes of tough-guy antiheroes who “play by their own rules” and stunted-adolescent slackers for whom rules, the mere acknowledgment of let alone adherence to, are the stuff of “adulting,” and fuck that shit.  Such prosocial, aspirational fiction might very well be called helpful exercises in wish fulfillment.  That’s what I’ve called for, and what I strive to produce myself.

Now let’s look, in mostly linear order, at the films that shaped my tastes and style, starting with the first five (of ten) selections.  Click on any of the links below to jump directly to that particular subheading and its corresponding treatise:

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“The Dogcatcher” Unleashed:  The Story behind My Debut Novel

September 20, 2023 / / 57 Comments

My first novel, The Dogcatcher, is now available from DarkWinter Press.  It’s an occult horror/dark comedy about a municipal animal-control officer whose Upstate New York community is being terrorized by a creature in the woods.  Here’s a (spoiler-free) behind-the-scenes account of the project’s creative inception and development; how it’s responsible for my being blackballed in Hollywood; how the coronavirus pandemic challenged and ultimately elevated the story’s thematic ambitions; and how these characters hounded my imagination—forgive the pun—for no fewer than fourteen years.

The Dogcatcher is on sale in paperback and Kindle formats via Amazon.

In the spring of 2007, I came home from L.A. for a week to attend my sister’s graduation at Cornell University.  My first occasion to sojourn in the Finger Lakes region, I took the opportunity to stay in Downtown Ithaca, tour the Cornell campus, visit Buttermilk Falls State Park.  I was completely taken with the area’s scenic beauty and thought it would make the perfect location for a screenplay.  Only trouble was, all I had was a setting in search of a story.

CUT TO:  TWO YEARS LATER

Binge-watching wasn’t yet an institutionalized practice, but DVD-by-mail was surging, and my wife and I were, as such, working our way through The X-Files (1993–2002) from the beginning.  Though I have ethical reservations about Chris Carter’s hugely popular sci-fi series, I admired the creative fecundity of its monster-of-the-week procedural format, which allowed for the protagonists, his-and-her FBI agents Mulder and Scully, to investigate purported attacks by mutants and shapeshifters in every corner of the United States, from bustling cities to backwater burgs:  the Jersey Devil in Atlantic City (“The Jersey Devil”); a wolf-creature in Browning, Montana (“Shapes”); a prehistoric plesiosaur in Millikan, Georgia (“Quagmire”); El Chupacabra in Fresno, California (“El Mundo Gira”); the Mothman in Leon County, Florida (“Detour”); a giant praying mantis in Oak Brook, Illinois (“Folie à Deux”); a human bat in Burley, Idaho (“Patience”).

Special Agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) in “The X-Files”

But the very premise of The X-Files stipulated that merely two underfunded federal agents, out of approximately 35,000 at the Bureau, were appropriated to investigate such anomalous urban legends.  I wondered:  If an average American town found itself bedeviled by a predatory cryptid—in real life, I mean—would the FBI really be the first responders?  Doubtful.  But who would?  The county police?  The National Guard?  If, say, a sasquatch went on a rampage, which regional public office would be the most well-equipped to deal with it…?

That’s when it occurred to me:  Animal Control.

And when I considered all the cultural associations we have with the word dogcatcher—“You couldn’t get elected dogcatcher in this town”—I knew I had my hero:  a civil servant who is the butt of everyone’s easy jokes, but whose specialized skills and tools and, ultimately, compassion are what save the day.

But it was, to be sure, a hell of a long road from that moment of inspiration to this:

When the basic concept was first devised, I wrote a 20-page story treatment for an early iteration of The Dogcatcher, dated August 25, 2009.  That same summer, I signed with new literary managers, who immediately wanted a summary of all the projects I’d been working on.  Among other synopses and screenplays, I sent them the Dogcatcher treatment.

They hated it.  They argued against the viability of mixing horror and humor, this despite a long precedent for such an incongruous tonal marriage in commercially successful and culturally influential movies the likes of An American Werewolf in London (1981), Ghostbusters (1984), Gremlins (1984), The Lost Boys (1987), Tremors (1990), Scream (1996), and Shaun of the Dead (2004), to say nothing of then–It Girl Megan Fox’s just-released succubus satire Jennifer’s Body (2009).  (I knew better than to cite seventy-year-old antecedents such as The Cat and the Canary and Hold That Ghost; Hollywood execs have little awareness of films that predate their own lifetimes.)  I was passionate about The Dogcatcher, but it was only one of several prospective projects I was ready to develop, so, on the advice of my new management, I put it in a drawer and moved on to other things.

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“Young Indiana Jones” Turns 30:  Storytelling Lessons from George Lucas’ Other Prequel Series

March 28, 2022 / / 18 Comments

A television series based on an immensely popular action-movie franchise shouldn’t have been a creative or commercial risk—quite the opposite.  But with The Young Indiana Jones Chronicles, which premiered on March 4, 1992, filmmaker George Lucas had no intention of producing a small-screen version of his big-screen blockbusters.  Here’s how Lucas provided a richly imaginative model for what a prequel can and should be—and why it would never be done that way again.

Though he more or less innovated the contemporary blockbuster, George Lucas had intended—even yearned—to be an avant-garde filmmaker:

Lucas and his contemporaries came of age in the 1960s vowing to explode the complacency of the old Hollywood by abandoning traditional formulas for a new kind of filmmaking based on handheld cinematography and radically expressive use of graphics, animation, and sound.  But Lucas veered into commercial moviemaking, turning himself into the most financially successful director in history by marketing the ultimate popcorn fodder.

Steve Silberman, “Life After Darth,” Wired, May 1, 2005

After dropping the curtain on his two career- and era-defining action trilogies (Star Wars concluded in 1983, then Indiana Jones in ’89), then failing to launch a new franchise with Willow (his 1988 sword-and-sorcery fantasy fizzled at the box office, though even that would-be IP is getting a “legacy” successor later this year courtesy the nostalgia–industrial complex), Lucas did in fact indulge his more experimental creative proclivities—through the unlikeliest of projects:  a pair of prequels to both Indiana Jones and Star Wars.  And while both arguably got made on the strength of the brands alone, the prequels themselves would, for better and worse, defy the sacrosanct conventions of blockbuster cinema—as well the codified narrative patterns of Joseph Campbell’s “heroic journey”—that audiences had come to expect from Lucas.

A perfunctory scene in Return of the Jedi, in which Obi-Wan finally explains Darth Vader’s mysterious backstory to Luke (a piece of business that could’ve been easily handled in the first film, thereby sparing the hero needlessly considerable risk and disillusionment in The Empire Strikes Back, but whatever), served as the narrative foundation for Lucas’ Star Wars prequel trilogy (1999–2005), in which a precocious tike (The Phantom Menace) matures into a sullen teenager (Attack of the Clones) before warping into a murderous tyrant (Revenge of the Sith).  Underpinning Anakin’s emo-fueled transformation to the dark side is a byzantine plotline about Palpatine’s Machiavellian takeover of the Republic.  Meanwhile, references to the original trilogy, from crucial plot points to fleeting sight gags, abound.

You’ve all seen the movies, so I’ll say no more other than to suggest the story arc—which is exactly what Obi-Wan summarized in Return of the Jedi, only (much) longer, appreciably harder to follow, and a tonally incongruous mix of gee-whiz dorkiness and somber political intrigue—is precisely the kind of creative approach to franchise filmmaking that would’ve been summarily nixed in any Hollywood pitch meeting, had Lucas been beholden to the corporate precepts of the studio system from which the colossal success of the original Star Wars afforded him his independence.

George Lucas on the set of the “Star Wars” prequels

Which is not to say Lucas’ artistic instincts were infallible.  Financially successful though the prequels were, audiences never really embraced his vision of an even longer time ago in a galaxy far, far away:  Gungans and midi-chlorians and trade disputes didn’t exactly inspire the wide-eyed amazement that Wookiees and lightsabers and the Death Star had.

Maybe by that point Star Wars was the wrong franchise with which to experiment creatively?  Perhaps it had become too culturally important, and audience expectations for new entries in the long-dormant saga were just too high?  In the intervening years, Star Wars had ceased to be the proprietary daydreams of its idiosyncratic creator; culturally if not legally, Star Wars kinda belonged to all of us on some level.  By explicitly starting the saga with Episode IV in 1977, he’d invited each of us to fill in the blanks; the backstory was arguably better off imagined than reified.

As an IP, however, Indiana Jones, popular as it was, carried far less expectation, as did the second-class medium of network television, which made Lucas’ intended brand extension more of an ancillary product in the franchise than a must-see cinematic event—more supplemental than it was compulsory, like a tie-in novel, or the Ewok telefilms of the mid-eighties.  The stakes of the project he envisioned were simply much lower, the spotlight on it comfortably dimmer.  In the event of its creative and/or commercial failure, Young Indiana Jones would be a franchise footnote in the inconsequential vein of the Star Wars Holiday Special, not an ill-conceived vanity project responsible for retroactively ruining the childhoods of millions of developmentally arrested Gen Xers.  Here Lucas expounds on the genesis of the series:

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Too Much Perspective: On Writing with Moral Imagination

June 7, 2021 / / 18 Comments

Practicing morally imaginative storytelling means scrutinizing the values and messages encrypted in the fiction we produce—but it does not mean passing a “purity test.”

In Marty Di Bergi’s 1984 rockumentary This Is Spinal Tap, the titular British heavy-metal band, faced with ebbing popularity and flagging album sales, embarks on a disaster-prone tour of North America in support of its latest release, the critically savaged Smell the Glove.  During a stopover at Graceland to pay their respects to the King of Rock and Roll at his gravesite, lead vocalist David St. Hubbins comments, “Well, this is thoroughly depressing.”

To which bandmate and childhood best friend Nigel Tufnel responds, “It really puts perspective on things, though, doesn’t it?”

“Too much.  There’s too much fucking perspective now.”

It’s a sentiment to which we can all relate, collectively endowed as we’ve become with a migrainous case of “2020 vision.”  At the start of the pandemic, long before we had any sense of what we were in for let alone any perspective on it, I like many essayists felt the urge or need or even the responsibility to say something about it, despite knowing I had no useful or meaningful insight.  I netted out with an acknowledgment that the months to come would present a rare Digital Age opportunity for quiet introspection and reflection—one in which we might expand our moral imagination of what’s possible, to invoke the exquisite wisdom of my mentor Al Gore, and perhaps envision a world on the other side appreciably more just, equitable, and sustainable than the one we had before the global shutdown.

Did we ever.  Here in the United States, we are now wrestling with issues of economic inequality, structural racism, police brutality, environmental justice, and fair access to affordable housing and healthcare with an awareness and an urgency not seen in generations, and President Joe Biden—responding to the social movements of his times like FDR and LBJ before him—has proposed a host of progressive legislation that matches the visionary, transformative ambition of the New Deal and the Great Society.

Reuters via the New York Times

With heartening moral imagination (certainly more than this democratic eco-socialist expected from him), Biden is attempting to turn the page on the Randian, neoliberal narrative of the past forty years and write a new chapter in the American story—one founded on an ethos of sympathetic coexistence, not extractive exploitation.  With our continued grassroots support and, when necessary, pressure, he might even be the unlikely hero to pull it off, too—our Nixon in China.

As for me?  I spent most of the pandemic thinking about narrativity myself.  Doing nothing, after all, was a privilege of the privileged, with whom I am obliged to be counted.  So, I used the time in self-quarantine to think and to write about the stories we tell, and I arrived at the resolute conclusion that we—the storytellers—need to do a lot better.

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One Good Idea: Reflections on My Longest-Running Project—and Most Successful Creative Collaboration

February 15, 2021 / / 34 Comments

My wife and I are celebrating twenty-five years together this winter.  God, that’s three impeachments ago.  To place it in even more sobering perspective, the January morning we’d met for our first date at the AMC on Third Avenue at 86th Street, I’d never in my life sent an e-mail.  At best, I had peripheral awareness of the “World Wide Web”—whatever that was—and certainly no idea how to access it (not that I’d ever need to).  I definitely didn’t have a cell phone—which, admittedly, would’ve come in handy, seeing how I was running late to meet her.

But we met that morning just the same; in those days—don’t ask me how, for this secret, like the whereabouts of Cleopatra’s tomb, is permanently lost to history—folks somehow met up at a prearranged location without real-time text updates.  It’s true.  We met many more times over the month that followed, in many more locales around the city:  Theodore Roosevelt Park on the Upper West Side; Washington Square Park in the Village.  (Public parks are a godsend for penniless students at commuter college.)  It was cold as hell that winter, but I never cared; I was happy to sit outside in the bitter temperatures for hours—and we did—just to be with her.  By February, we were officially inseparable—and have remained so ever since.

A lifetime has passed since then, one in which, hand in hand, we’ve graduated college, traveled to Europe on several occasions, moved across the country (on September 11, 2001 of all cosmic dates), weathered the deaths of a parent apiece, eloped in Vegas, cared for twenty-four different pets (mostly fosters), consciously practiced patience with and developed deeper appreciation for one another during this indefinite interval of self-quarantine (we haven’t seen our immediate family on the East Coast since Thanksgiving of 2019), and have perennially quoted lines from GoodFellas to one another… because, well, GoodFellas might be the only thing that’s aged as well as we have.

Goodfellas Joe Pesci and Ray Liotta at the Jackson Hole diner in Queens, the site of many of our dates in the college years

She’s certainly aged preternaturally well in her own right.  She was the prettiest girl at school—no minor triumph, given that there were almost 20,000 students at Hunter College at the time—but she’s impossibly more beautiful today.  When I glance in the mirror, however, I in no way recognize the kid that fell in love with her all those years ago.  This is a good thing.  I think—I hope—I’m a much better man today than I was then.  Kinder; more compassionate; more sensitive; more patient.  Certainly wiser.  And hopefully more deserving of the love she’s given so freely and steadfastly.  Indeed, hopefully that above all else.

All the best ideas to grace my life over the past quarter century have been hers, without so much as a lone exception.  Long before I took up blogging, she’d encouraged me to do so.  I was such an incorrigible Luddite, however; furthermore, I reasoned it would be a distraction from my “real” work:  screenwriting.  Now I wish I’d swapped screenwriting for blogging years earlier.  The former—my bright idea—made me miserable; the latter has allowed me to better know myself unquantifiably.  I am an exponentially better writer for this continuing project—the one she had the wisdom to suggest years before I could see the value in it myself.  She didn’t hold that against me, though; she even set up my WordPress domain.  Now you get to read all about the esoteric bullshit she alone used to entertain over dinner.

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Changing the Narrative: Why Some of Our Most Popular Stories Affirm Our Most Pernicious Beliefs—and How Storytellers Can Rewrite This Bad Script

June 25, 2018 / / 55 Comments

I can’t say it was by deliberate design, but the blog this year has been heavily focused on the power of storytelling as a cultural lodestar, one that reflects the changing times as much as it influences them.  Like gravity, or capitalism, narrative is a governing force in our lives that mostly operates invisibly, if for no other reason than we’ve gotten so accustomed to its ubiquity.

“As a medium, stories have proven themselves great as a way of storing information and values, and then passing them on to future generations.  Our children demand we tell them stories before they go to bed, so we lace those narratives with the values we want them to take with them into their dreams and their adult lives.  Likewise, the stories and myths of our religions and national histories preserve and promote certain values over time.  That’s one reason civilizations and their values can persist over centuries” (Douglas Rushkoff, Present Shock:  When Everything Happens Now, [New York:  Penguin Group, 2013], 16).

Taking those values “into our dreams,” as Rushkoff puts it, is a crucial proviso, because it underscores the subconscious way storytelling works:  A good story seduces you with the promise of entertainment, incrementally winds you up into a state of suspense, and only lets you out when it’s made its point—when it’s imparted its takeaway moral.  Over and over we submit to this experience, fondly recalling with friends the parts of a story that made us jump, or laugh, or cry, but seldom do we give much consideration to its underlying ethos; that sort of subtextual scrutiny, let’s face it, begins and ends in third-period English.

But if fiction is the means by which our mores and traditions are conferred, then it is also, accordingly, the way in which bad ideas are inculcated, even by trustworthy artists.  Much of this is owed, quite innocently, to utilitarian narrative patterns that have, through mass-repetition, developed into accepted sociocultural precepts.

You all know the rules: sin equals death

Genre conventions are part of a pact storytellers make with their audience, a set of tacitly agreed-upon expectations:  an action thriller will have violence; a slasher film will feature teenage sex; a romantic comedy will pair ideologically (and adorably) mismatched lovers.  The best stories find a way of at once honoring and challenging those tropes (Scream, The Dark Knight); most, however, simply take them as an uncontested given.  Commenting on the erotica blockbuster Fifty Shades Freed, comedian Bill Maher noted:

“Psychologists have to explain how in the age of #MeToo, the number-one movie in America is about a woman on a leash.  Or, how in romantic comedies, there are only three plots:  she married her boss; stalking is romantic; and ‘I hate you and then I love you’” (Bill Maher, “New Rule:  Hollywood’s Grey Area,” Real Time with Bill Maher, February 16, 2018).

To a certain extent, given their sheer volume, archetypal scenarios are unavoidable.  And most writers, I suspect, don’t promulgate them with an actively malignant agenda:  I don’t imagine screenwriter J. F. Lawton, for instance, set out to make the case that prostitution is romantic when he conceived the neo-Pygmalion fairy tale Pretty Woman; that was simply an incidental if unfortunate concomitant.  Artists, after all, have consumed thousands of stories, too, and are therefore as susceptible to the subliminal indoctrination of culturally ingrained—and narratively reinforced—worldviews as the rest of us.  Some of our most cherished American myths even help to explain how we’ve arrived at this dangerous moment in history.

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