Categories
the ancient past tv

Hang dai!

Hang dai!

I'm one episode from the finale of Dead­wood, and I'm feel­ing pre­ma­ture­ly nos­tal­gic for the pan­tomime con­ver­sa­tions between the Can­tonese-speak­ing Wu and Eng­lish-speak­ing Al Swearen­gen. These "con­ver­sa­tions" gen­er­al­ly involve fran­tic sketch­ing with char­coal, oaths unprint­able in a fam­i­ly blog, and very lit­tle Eng­lish. They tend to con­clude with the dec­la­ra­tion "hang dai!" which means "broth­ers," and rec­i­p­ro­cal ges­tures of inter­twined index and mid­dle fin­gers, as shown above. Hang dai, Mr. Wu. I will miss you.

Categories
flickr photo tv

Let's put this matter to bed

That's what she saidGenius stitch­ing and polaroid by: That Kate.
Categories
the ancient past tv

Their lives on the B‑list

Ques­tion: Is there a bet­ter lit­mus test of 1980's celebri­ty than a guest appear­ance on Love Boat? Wikipedia's mas­ter list includes Corey Feld­man, Pat Mori­ta, Rich Lit­tle, Menudo, the Vil­lage Peo­ple, and the Point­er Sis­ters. Also includ­ed: Lorne Greene, Shecky Green, Pam Gri­er, and Andy Warhol. Sur­pris­ing­ly omit­ted: The Harlem Globetrotters.

Categories
tv

Polygamists and 1040s; or, what I think about at work

I've been work­ing on a design project involv­ing income tax, and I'm a big fan of Big Love — so nat­u­ral­ly I won­der how a polyg­a­mist fills out a 1040. My project has giv­en me a good intro­duc­tion into some tech­niques that peo­ple in exot­ic sit­u­a­tions use to avoid get­ting nailed by the IRS, and I won­der which ones are employed by Bill Hen­drick­son, Big Love's plu­ral­ly-mar­ried husband.So, all you tax pro­test­ers out there, tell me how this guy does it … On the sur­face, the Hen­drick­sons are typ­i­cal sub­ur­ban­ites, liv­ing in a sub­di­vi­sion with man­i­cured lawns and white pick­et fences and SUVs, con­tin­u­al­ly weav­ing a pro­tec­tive cloak of lies when it comes to deal­ing with the rest of the world, hid­ing the fact that three seem­ing­ly inde­pen­dent fam­i­lies liv­ing side-by-side are actu­al­ly one large, plu­ral­ly mar­ried fam­i­ly. The hus­band, Bill, owns a Home-Depot-style super-store, so clear­ly he's got some income, in addi­tion to a vari­ety of avenues to shel­ter that income. Each of the three wives lives in her own house. Bill lives with the first wife, Barb, and the oth­er two wives — Nik­ki and Margie — live in the hous­es adja­cent to Bill and Barb. Nik­ki and Margie both work part time, but they clear­ly don't earn enough to cov­er liv­ing expens­es — rent, tak­ing care of the kids, etc. We can assume that Bill owns all three hous­es. Maybe he "rents" hous­es to Nik­ki and Margie for a very reduced rate, and per­haps he also pays them a salary to be babysit­ters, or house clean­ers? Still, you'd think that this sort of sit­u­a­tion would be sus­pi­cious to the IRS, espe­cial­ly since they live in Salt Lake.You'd also think that the Inter­net would have a lot of infor­ma­tion about how polyg­a­mists can avoid income tax­es, but, if it's there, it's not eas­i­ly Google-able. How Stuff Works actu­al­ly has an arti­cle called "How Polygamy Works," which includes this bit:

The eco­nom­ics of polygamy can be hard on the fam­i­lies as well. Col­orado City, Ari­zona, a strict polyg­a­mist enclave, suf­fers from severe pover­ty. The fam­i­lies are sim­ply not able to make enough mon­ey to sup­port all their wives and chil­dren. They rely heav­i­ly on wel­fare, and in some cas­es com­mit wel­fare fraud. The prob­lem is so severe that Col­orado City and sim­i­lar com­mu­ni­ties put a seri­ous strain on state wel­fare systems.

It would be even more sus­pi­cious, I would guess, if they col­lect­ed wel­fare while liv­ing in a fan­cy sub­di­vi­sion. So: Who has some insight here? How do they do it?

Categories
tech tv

Lost / Story-wrangling systems

I've always been fas­ci­nat­ed by Lost, the intri­cate­ly-plot­ted TV series about the sur­vivors of a plane crash. On the sur­face, it's a new-fan­gled Gilligan's Island meets The Bridge of San Luis Rey. The goal is sim­ply to get off the island, and the sto­ry of doing so is advanced in par­al­lel with flash­backs that tell the sto­ries of the char­ac­ters. But the writ­ers go way big­ger than that, and after four sea­sons the sto­ry has woven threads of Lord of the Flies (in the way that social sys­tems devel­op among the sur­vivors), The Pris­on­er (in the dis­cov­ery of a mys­te­ri­ous group of peo­ple liv­ing on the island, known as "the Oth­ers") The X‑Files (in the occa­sion­al super­nat­ur­al events), and Rashomon (in its use of over­lap­ping flash­backs and con­test­ed tes­ti­monies) — among, I'm sure, others.With all that is going on in the sto­ry, I've always won­dered how the pro­duc­ers keep track of the var­i­ous threads. Well, as it turns out, there's a per­son called "script coor­di­na­tor" who is in charge of this. Gregg Nations, Lost's script coor­di­na­tor, described his role in a post to The Fuse­lage, described as "The Offi­cial Site of the Cre­ative Team Behind ABC's Award Win­ning TV Show Lost:"

A script coor­di­na­tor cre­ates the show bible, which is gen­er­al­ly a sum­ma­ry of each episode and tracks the intro­duc­tion of any new char­ac­ters or impor­tant sto­ry points. How­ev­er, on "Lost†it's a lit­tle more dif­fi­cult than usu­al. In place of a show bible I cre­at­ed a char­ac­ter bible, an island time­line and a flash­back timeline.In the char­ac­ter bible I track impor­tant facts about the char­ac­ters or oth­er ele­ments in the show estab­lished in the episodes, either through what the char­ac­ters tell each oth­er or the flash­backs. I track how many sur­vivors we have, who has died and their names, when we've seen the polar bears or the smoke mon­ster, every­thing about the hatch, when we've had con­tact with the Oth­ers, etc. Again, it's very detailed work but I think the writ­ers appre­ci­ate hav­ing all that infor­ma­tion at hand in a doc­u­ment so they don't have to wor­ry about it.The island time­line is a record of how many days they've been on the island and what hap­pened on what days. The flash­back time­line tracks the events that hap­pen in everyone's flashblacks.

So, the next ques­tion is: How the heck does he man­age all of those bibles and time­lines? Need­ing to visu­al­ize inter­con­nect­ed time­lines, you'd think that he'd use some­thing like a Gantt chart — maybe Microsoft Project? Or maybe he has some pro­pri­etary TV pro­duc­tion soft­ware that links the time­lines with char­ac­ter infor­ma­tion? As it turns out, his sys­tem is a lit­tle more low-fi. In a recent pro­file in the NYT, Nations briefly alludes to his meth­ods for man­ag­ing the details:

Had he a back­ground in com­put­er sci­ence, Mr. Nations now says, he might have approached the "Lost†project dif­fer­ent­ly. "The best thing would have been to cre­ate a data­base where everything's linked, and if we're talk­ing about Jack and what was estab­lished in his first flash­back episode, you could click on some­thing that takes you there,†he said. But as an accoun­tant, he was more inclined just to make notes in a ledger. "I've just cre­at­ed these Word doc­u­ments, and I just write every­thing down.â€

Nooooooooo. Nooooooooooooooooooooooooooooooooo! Even the fan-gen­er­at­ed Lost wiki, Lost­pe­dia, is linked up in a rudi­men­ta­ry way, mak­ing it rough­ly 1000x more wran­gle-able than dis­con­nect­ed Word doc­u­ments. Still, like any Lost fan, I'm curi­ous to know what's in the "bible," even if it would be tor­tur­ous to find anything.