“The most important thing I want to express to people is that I’m not cured. I could probably relapse in a minute. Who knows? It’s just a weird disease that sneaks up on you and all of a sudden you’re boozing at the bar, or whatever. And it doesn’t have to be because of you or pressure or this-or-that. It just can be.
The most important thing is that I didn’t want to set myself up for failure and be like, “Look at me!” I wanted to write the book that I needed when I was suffering. ” — Kristen Johnston, actor
I won’t even try to gloss it over with a layer of shiny wit, dear readers.
I am truly sick.
My diabetes is worse than ever. My cholesterol has hit a number that even scared the staff of my doctor’s medical team.
I’ve written about this before. All of my friends have heard the tale before. I had to admit to myself that I’ve been playing Russian Roulette with my health for the better part of a year. I know I went too far. I’ve known. My insatiable thirst for sugary drinks? My getting up more than three times to urinate during a given night, having to witness a small mountain of foam in the toilet each time? The numbness on the tip of my right-hand thumb, which mirrors the nerve damage I have on my right pinkie toe? All signs of diabetes left unchecked.
Given my unpredictable mood of late, I was literally given a “time out” by my boss. I was given a day off. Another red flag, but one that motivated me to sit down for blood work at One Medical. It was time to do something. Anything. It was months overdue. I was told by the phlebotomist that I’d get my results in about a week or so.
I received this email 24 hours later.
I’d just visited my shrink when I received Dina’s note. After the first two reads, all I could see was the words “Blindness,” “Kidney Failure,” “Heart Attacks” and “Strokes.” I felt nothing as I sat in my car in that parking lot off Wilshire Blvd. I turned the ignition, put the car in reverse, drove off the lot… and went straight to 7-11 to buy a Super Big Gulp filled with Fuze Raspberry Iced Tea for the trip home.
A new shade of anger has set in. Anger that I am in this square. Again. I am angry at myself. Again. I am sick. Sick, tired, and scared. It sounds like an ambulance chasing law firm. The office of Sick, Tired and, Scared. I can only imagine their rates.
Alan asked me earlier last week if I was looking at death as a means of avoiding dealing with a few situations in my personal life. Of course, I said, “No.” But as I write this diary entry now, I realize, some truth exists to the question he posed. Yes, I would rather be dead than have to deal with what is happening in my life at the moment. I don’t know this person I’ve become. I know the behaviors very well, but not the individual. When did fear and anxiety become my defining characteristics? How did I let myself become so afraid that I’ve immobilized myself?
When I began my career in the film industry, if doors were closed in front of me, I’d either knock them down or find another way in. I don’t do that anymore. This is beyond complacency. What I feel is a form of terror. I’d prefer leading myself to a stroke, heart attack or worse than to deal with a crisis point. That is suicide.
Friends of mine have lost loved ones this year to health issues that we are able to control. It isn’t just a question of age. We know eating better, taking a bit of exercise, and thinking healthy are the sure-fire ways to live a healthier life. Genetics only account for a portion of the reason for illnesses like diabetes and heart disease. We can get BETTER. But it takes focus and control, two things that people like me, who live with an addiction to poor food choices and insolence, struggle to engage.
This anxiety, which has only been amplified thanks to the Trumpist Age, cannot swallow me whole. I haven’t felt so alone as I do right now, even if I do live in a crowd. Taking solace in knowing just how MANY people are desperate at this moment isn’t enough anymore. But, I do know who I can trust with these feelings, even if I’ve worn out my welcome with this story. I dig my heels into the ground the minute most people offer me advice to “get better” or “smile” or “stop reading the news.” If you knew how much I love shoes, such behavior has no place in my adult life anymore. I’m not a child and being stroppy about anything in this life is beyond idiotic.
This self-destruction must end in a way that doesn’t require my mortality. I need to get my shit together. I need to start thinking healthy again. I need to at least LIKE myself again. Otherwise, this diary will live on as an obituary or a cautionary tale. Take your pick.
I will be seeing my physician this week to review the lab results and put together a medical strategy that will play a role in getting my numbers to safer levels. I am tracking my food intake on the Weight Watchers app. I am being proactive. This doesn’t resolve the bigger issue that is a key reason why I’ve lost control, though. I’ll begin with this first truth, this first salvo in positive thinking:
It isn’t betrayal, my wanting to tell the people close to me, that I want to change my life before this situation kills me.
The rise of Trumpism has torn the veil off of 21st century America and what lies beneath is a roiling sea of hatred towards all non-white groups. It seems no one is immune from this cancer. Just view any of the iPhone videos of unbridled rage shot on location at hotel pools to Starbucks to any grocery store of late.
I can’t help but shake in rage when I think how mainstream media was complicit in giving Trump and his minions a platform that is part-revival tent and part- propaganda machine. By reporting and repeating his often wildly untrue statements designed for maximum collateral damage, the effect is not to inform the masses, but to give the Trump machine more steam and crucial validation.
Before the election, I found it unfathomable that we’d live in an era where a U.S. President would turn to social media to handle world affairs in the manner of an unhinged youth suffering from Twitter Tourette’s. The very thought of such a political figure leading the greatest nation on Earth as if he’s the oligarch of the Troll Nation churned my stomach. It couldn’t possibly happen here, right Sinclair Lewis?
Now we have the children of the undocumented living in detainment camps on American soil.
What we decide to do about Trump and his rabid fan base will define the next generations of our nation. But we have to start paying attention. We can’t turn away or tune it out, people. We can’t distract ourselves with cat videos, endless phone swiping through the digital swamps of clickbait nonsense, Beyoncé & Jay-Z’s new album or whatever it is we do to pretend our lives are hunky dory.
We are at war for the soul of this great nation. To avoid service is to call yourself a deserter. You do not warrant a place in this nation once we put down our arms to vanquish the Orange menace, the entitled, rich white men who’d rather see us corralled up like animals and treated like garbage. You are no better than them in thinking it is someone else’s problem.
We cannot be complicit in our silence. You see, it won’t stop here, this flouting of human and civil rights. If we allow these camps to continue, Trump will allow for them to grow in numbers and the parameters can only be broadened from here. Citizens may find themselves behind those gates just because they fit a government profile that can change at any given moment.
Camps have happened here before. Like all the evil that men do, a precedent exists. We have the power to look back in anger and do something with that emotion to make sure it doesn’t happen again. That’s the beauty of history. The clues. The answers. The best-laid plans are present for us to make our futures better. Yet, we are the fly in the ointment. Our apathy and divisiveness make us so.
Walls. Chainlink fences. Camps. These are devices engaged by the weak and cowardly to keep control and power. But these are also man-made constructs. And it is men and women of great courage and faith in the goodness of humankind that will take them down. Change cannot be contained. This is our chance. Make your voice heard. Speak your truth.
Here’s mine: I am the gay son of Mexican immigrants, people who chose to become citizens of this great nation. To witness the children of other Latinos in camps is a slap in the face of all immigrants who created America. We must become the change we want to see in the world before we are all on the other side of that fence wondering what the hell happened.
After you’ve taught the world how to be a Latin lover, what do you do for a follow up? If you’re an international comedy star, you offer the world an unexpected new twist on one of the most beloved romantic comedies of the 1980s and go… “Overboard.”
Since his groundbreaking American film debut in 2013 with “Instructions Not Included,” Mexican actor and filmmaker Eugenio Derbez broadened his audience further with the 2017 box office hit “How to Be a Latin Lover.” Seeking a new challenge, Derbez and production partner Benjamin Odell knew they set the right course in taking on the famed 1987 romantic comedy “Overboard.”
Several industry heavy hitters had already tried to find the right combination that would take the film from being a mere remake to a filmed entertainment that spoke to a generation that, incredibly, may not be familiar with the original. Recasting the roles played by powerhouse duo Goldie Hawn and Kurt Russell would not be enough. The basic premise of sweet, vengeful justice that happened to blossom into an unexpected romance also would need an update.
After much planning and discussion, this bold, new “Overboard” was ultimately set forth on a journey that would reflect the diversifying image of mainstream American cinema. Genders would be reversed, giving Derbez and blonde comic dynamo Anna Faris a chance to put their mark on the characters essayed by Hawn and Russell. More, the identity of the film would take on a multi-cultural one, mirroring the audience that continues to impact more than box office revenue. The end result can only create a splash of its own. Find out how this “Overboard” set sail in the following Q&A with stars Eugenio Derbez, Anna Faris, and Eva Longoria.
“Overboard” opens citywide on Friday, May 4th.
JORGE CARREÓN: What is it about the original that makes people smile, even today?
EUGENIO DERBEZ: Goldie Hawn. I love her. She’s amazing. She’s adorable. She’s charming. She’s funny. She’s everything. And the story is interesting, you know? This clash of cultures is funny when you see the rich against the poor and then they switch, and they torture her.
ANNA FARIS: I love the original so much. I grew up watching “Overboard.” It was my sick day movie! It feels like I watched it every day. It was the movie that my friends and I could all quote.
EVA LONGORIA: It is such a classic film! I love the original. I love Goldie Hawn. I love their love story!
CARREÓN: What makes this take on “Overboard” special to you?
DERBEZ: Flipping the genders was fresh because we wanted to break stereotypes. The normal thing to do is I would play the carpenter and Anna (Faris) would play the billionaire in the yacht. But it’s a different world. When you want to do a remake, you do it because you love the movie. If you start changing too much it becomes another movie. We were careful in not losing the core of the original story.
FARIS: I’m thrilled to be a part of it. it’s also terrifying because When I was approached with the project, I was incredibly flattered but I also felt like these were huge shoes to fill. But, I couldn’t resist it, so we’ve reimagined it. The Kurt Russell character is played by my me and Goldie Hawn’s character is played by Eugenio. I think we’ve updated it and I hope that it satisfies fans of the original.
LONGORIA: There are movies that you go, “You cannot touch that!” I thought this was one of them. When I first read the script, I wanted to not like it. [LAUGHTER] It’s a reinvention more than a remake. The role reversal makes more sense now if you think back to the original. This role reversal is a little more accepting because it’s the guy who is going to do hard labor in the house. He should. [LAUGHTER]
CARREÓN: The gender reversal of roles is just one layer of this new imagining of “Overboard.” Eugenio, what did it mean for you to take on the role played by Goldie Hawn?
DERBEZ: It’s typical that in Hollywood you always see the Mexicans playing the gardener, the immigrant. But there are other kinds of Mexicans. Many Americans don’t know that one of the richest men in the world is Carlos Slim. That’s why I decided to play this Mexican billionaire as if he were a Carlos Slim type. What I loved the most is I got to play two Leonardos. The Leonardo who’s rich and the Leonardo who’s poor later. But, it was a real challenge playing the billionaire. When I watched the original movie, one of the things that I really loved from Goldie Hawn was that even though she portraying a mean and terrible human being, she was always charming. And I was like, “God, I need to find the way to do the same thing!”
I wanted this guy to be, even though he’s a jerk and he’s always mistreating people, I wanted him to be charming and lovable. That was the challenge. Although, I did love being the billionaire more than the other Leo because it had more room to play.
CARREÓN: How about you, Anna? How did you want to make your role as Kate resonate in this new context? Is she an extension of your real self?
FARIS: I think that every character that I play of course has a degree of me in it because I think that’s how you sort of attempt to embody a character. I love Kate because I could recognize her sort of desperation. She wanted to be able to do the right thing. And yet, there’s this temptation. She succumbs to it and takes Eugenio’s character out the local hospital when he’s suffering from amnesia and convinces him that he’s her husband and that he also has three jobs and must now support her family. [LAUGHTER] That sounds pretty horrendous! But, I like that Kate was very real to me. She’s funny and gritty and she’s working her ass off to raise these kids and to try to make ends meet. It makes me feel like a lot of the people that I grew up with. Hopefully, it’s honoring the idea of how just hard it is for working single women and people.
CARREÓN: It is important to be able to trade comedic dialogue with an actor who’s also adept at bringing the funny. How was it creating a bond as Leo and Kate?
DERBEZ: Anna and I clicked from the moment we met. There’s nothing better than having chemistry with your co-star. Anna was exactly as I imagined. She’s funny, she’s amazing, she’s full of energy, she’s always making jokes. It was easy to work with her because she’s always feeding you with funny stuff. During takes, I’d be enjoying her performance as if I was watching a film! I’m like, Sorry I wasn’t reacting! I was watching Anna!”[LAUGHTER] Besides it is a little bit freaky because she looks like Goldie Hawn. You can’t imagine how similar she is. There were a lot of takes where I was watching her and thinking, “Oh my God, it’s exactly like Goldie Hawn!” I loved that.
FARIS: I couldn’t adore Eugenio Derbez more. He’s got these big eyes. He’s innately charming. He’s hysterical. Our first day of shooting we were stuck in a car on a trailer together. And we hadn’t spent that much time together except for a couple of rehearsals and a couple of meetings before. And I was just like chatting his ear off. And I remember him looking over at me with like sort of this look of confusion. I’d like to think also he was charmed by my chatty Cathy business I was doing. [LAUGHTER] We both come from this comedic background. We both have though dramatic undercurrents in ourselves. We talked a lot about acting throughout the course of the movie. I admire him so much.
CARREÓN: One of the revelations from these interviews is that Eugenio admitted he and Anna are both insecure when it comes to performing. Why?
DERBEZ: Well, she’s so humble. Anna is one of the funniest comedians in Hollywood. English is not my first language. It’s hard for me to perform in English. I was always curious about whether I could be funny in English? People say I’m funny in Spanish, but I’m not so sure I’m going to be able to crossover in English. Every day I would ask Anna, “Was I funny?” She would say, “What are you talking about? You were really funny!” Then she’d be the opposite, “I think I wasn’t funny.” And then I’d say, “What are you talking about? You’re really funny! You’re Anna Faris!” I think all actors in the world are insecure, but probably more so if they’re comedians. [LAUGHTER]
FARIS: I don’t know how Eugenio does it. We were just talking about that just a sec ago. Like, I was like how do you do this. How do you, how do you, it’s just incredible to be able to speak and act in a language that’s not your first!
CARREÓN: Do you think a cross-cultural romance experienced by Leo and Kate is a risky move for a mainstream film today?
DERBEZ: Yes and no at the same time. We’re going through rough, tough times. But it’s time to make a statement. I think America is a great country and it’s built by many groups of people, not just one. I’m Latino and Latinos have been doing great things here in the U.S. In a certain way, we’re telling people that anything can happen. This is America. That’s life in America.
FARIS: I loved the idea. I hope that this movie can touch different cultures, different generations. It feels progressive in that way. I love it that we have these incredible Mexican actors in our movie. I love it that we speak Spanish. It feels like next generation as well and I feel to be a part of that. I think that is something that makes this movie stand out.
CARREÓN: The new “Overboard” also has a secret weapon that wasn’t part of the original film, which is the scene-stealing Eva Longoria as Kate’s best friend, Theresa.
FARIS: The first day Eva came to set she ran up to me, and mind you, I had never met her before. She gives me this massive bear hug and she’s just like, “You and I are going to be best friends.” And I was like, “Oh my gosh! You are a dream!” I loved acting with her. She’s just an incredible person and an amazing actress. I think that there can be a sense of competitiveness sometimes, which many of us have experienced in the past. It’s wonderful to be at a place in life where no one is bringing any of that to the table. I just love her so much. We should definitely play buddy cops or something in another movie! [LAUGHTER]
LONGORIA: It is just so fun being able to play off Anna. I’ve been such a huge fan of hers my entire life, from “The House Bunny” to the “Scary Movie” franchise to “Mom.” She’s just such a talented comedian. She has this natural instinct for comedy. She’s really great with physical comedy, so doing scenes with her has been a lot of fun. And to play her confidant and to be able to play off each other has been a dream for me.
CARREÓN: How important was it to have all roles not depict a cultural or gender stereotype?
FARIS: There’s been this wonderful sort of awakening, where we have brilliant writers and our directors and screenwriters creating material that’s multi-dimensional and doesn’t fall into a particular category. I love that Kate, my character, had dialogue could have easily been played by a guy. It feels great to have anything that sort of fits into a box that’s conforming in any way. Hopefully, we’ll see more roles played by all different kinds of people.
LONGORIA: We’re taking steps forward in the right direction with diversity in film. We have to do more and it starts behind the camera. Eugenio’s directing and producing. I’m directing and producing. When you have the viewpoint of a diverse person, what’s in front of the camera is bound to be diverse. We are taking small strides, day by day. The landscape of America is changing, and changing in a Latin way, I think that will eventually be reflected in television and film.
CARREÓN: What’s been the most compelling aspect of having creative control over a film project? A great example with “Overboard” is its diverse ensemble, particularly with the talents of such acclaimed Mexican actors as Cecilia Suárez, Mariana Treviño, and the great Fernando Luján as Leo’s family.
DERBEZ: I’m basically hiring myself for every project. And I like that because I have a voice. It’s important to have a voice nowadays. I wanted to introduce some of our great Mexican actors to a new audience. They’re amazing! I loved doing that. And if I can be a bridge for all this great talent we have in Mexico, then I’m happy.
LONGORIA: I applaud what Eugenio’s been doing with his films in Hollywood as a Mexican actor. What’s been so wonderful to see is that he brings his culture with him. He brings the actors from Mexico with him. He’s never turned his back on his origins. He’s doing these bi-cultural films really well. They’re funny. They have general themes. Universal themes that a general market can enjoy and I think that’s the key. That’s why “Desperate Housewives” was so successful worldwide because you deal with universal themes that everybody can relate to. If you do movies about love and romance and divorce and heartache and jobs and child raising and death. I mean, those are things everybody can relate to. And then you make it a comedy? [LAUGHTER] It’s enjoyable to watch. I’ve had these moments where I look around the set and I get chills because there are so many talented actors on the set, but there are also so many diverse talented actors on set. It’s very rare that you go onto a movie set and you see actors from Mexico City doing an American film. And that’s really what I applaud Eugenio for.
CARREÓN: Expectations versus reality. Which did you all enjoy more? The scenes on the yacht or the ones on land?
DERBEZ: We were all so happy the day they told us were going out into the open sea on a luxurious yacht. Then we had to reduce the crew because we all couldn’t go onboard for weight purposes. In the end, we couldn’t wait to finish shooting on the yacht. [LAUGHTER] It was so hard! The interiors of the yacht were covered in plastic to protect the walls, the furniture. We were standing up most of the time. We’re sitting on the floor. It was packed. You couldn’t walk around. You couldn’t bring food inside or drinks. All of us had to have lunch outside. It’s Vancouver. It’s Canada. It was freezing. It was so windy! The scenes on the jet with the beautiful women in bikinis? We were all shouting and yelling and laughing. When I came back to the yacht, and the crew said, “You all looked like you were having a lot of fun!” I said, “No! We were freezing. The water was cold! Those were shouts, not laughs!”
FARIS: I loved making “Overboard.” Just the thrill of getting to be a part of it is amazing to me, one I could never have imagined as a child. I also loved that our directors and Eugenio gave me a sense of freedom. There was a lot of improvisation, plus the idea that we’re telling a romantic journey in an unconventional way.
LONGORIA: We had a funny scene, Eugenio and I with the condoms. That’s all I’m going to say. I’m going to say is Eugenio Derbez, Eva Longoria, and condoms. Watch the movie. [LAUGHTER] I loved anything with Anna. I loved my screen husband Mel Rodriguez [who portrays Bobby]. You have no idea. Mel and I have known each other for 18 years. Every time we had a scene together, the director was like, “More of that!” Now we have to go do a show together. We’re that good together. It feels like we’ve been married 20 years. We’ve all had a lot of fun, but the water scenes were rough. It was raining, it was freezing. It’s probably some of the funniest stuff we’ve shot, the end of the movie, the little boat chasing the big boat. I think people are really going to enjoy it.
CARREÓN: What do you hope audiences take away from watching “Overboard?”
FARIS: It ultimately becomes a love story. What Kate and Leo bring out in each other is eventually the best in each other. Leo becomes a version of himself that he didn’t know he had in him. And I think Kate’s walls get broken down. There’s something really interesting in the idea that this man who has everything that the world could offer and he somehow finds reward in having a family and a simpler life. It’s the idea of what money can’t buy.
LONGORIA: People can expect a lot of fun out of this movie. They’re going to want to go on this journey with these characters, between Kate and Leo and their families. I feel like there’s a desire for a movie like this right now, especially in the world we’re living in. We want to escape into a beautiful place, a happy place. You want to experience someone else’s journey and not think about your own problems. [LAUGHTER] This movie’s going to do that for you.
DERBEZ: It was a challenge and a great responsibility to do a remake of this great film. When we hired writers Rob Greenberg and Bob Fisher and we read the final script, we were thrilled. We first talked to MGM about flipping roles and they were like, “No! This is an iconic movie. We don’t want to go that far!” They read the script, and they were like, “Oh my God. We love it!” We have a great movie. I think we have an amazing movie. Funny, interesting, and with a lot of heart. It has everything and it’s a roller coaster. It’s a family movie, too, which is a plus. I like doing movies for everyone.
**The interviews with Eugenio Derbez and Eva Longoria were completed on location in Vancouver during production in June 2018. The Anna Faris interview was completed in Los Angeles in January 2018. The transcripts have been edited for this piece.
The “Overboard” English and Spanish featurettes were produced by Jorge Carreón at Monkey Deux, Inc. for Pantelion Films.
Edited by Kate Ryan (English) and Steve Schmidt (Spanish), the featurettes are included courtesy of Pantelion Films.
If you know my family, you’ve probably heard the tale of “The Adventures of Dad, Jorgito, and the Golden King Tut Ticket of 1978.” It remains one of our favorite stories to tell because it has everything, laughter, drama, realizations about a child’s true nature, and mummies. It makes sense that it includes mummies since most Latino families pretty much embalm all sorts of moments they can drag out from its tomb now and again. It usually happens at a family gathering, especially during the holidays.
But I digress. First, a little context to the Tut connection.
From 1976 to 1979, the treasures found in King Tutankhamen’s tomb toured seven U. S. cities, including Los Angeles. The exhibition was a wild success, to put it mildly. “King Tut Mania” was the only pyramid scheme destined not to bankrupt the regular folk. It was as if a Cecil B. DeMille film had come to vivid life, seeing these treasures. The mystery, the glamour, the history! All of it on display and separated by glass. Angelenos lost their proverbial shit when it arrived at the L.A. County Museum of Art. About eight million Americans made the trek nationally to the “Treasures of Tutankhamen” when it hit their chosen cities. However, more than one million visitors were tallied in Los Angeles alone. (You know how Latinos love their gold!) And, I represented two of said entries at LACMA. Reasons exist as to why.
Dad was already caught up in the fervor. A factory next to his was manufacturing swag to cash in on “King Tut Mania.” He’d bring home such replicated artifacts as Tut’s funeral mask, a small statue of the goddess Isis encased in a lucite pyramid. Yes, these were factory rejects, but so what? It was so rare to see Dad get excited by such things, but his being a pragmatic man meant that he was obsessed with science and history. He loved truth and facts versus the fantasy of the abstract represented by fiction.
Tickets were sold out for the LA exhibition, but Dad was so proud when I was chosen to be one of the fifth graders from South Ranchito Elementary to visit with the Egyptian boy king at LACMA. It meant something to him that one of his family members could bear witness to this glorious exhibition of rarely-seen history.
A few weeks later, as the exhibition prepared its departure, Dad had this wild notion of heading down to LACMA to see if we swing two tickets. As he always stated, “The worse they can tell you is ‘No.'” So, we jumped into our aqua blue VW Beetle and made our way down Wilshire Blvd.
Mind you, Dad first sent me by myself to the box office to see if any cancellations were available. He waited in the car and I bolted up the steps to the museum entry. (I don’t think any parent would do that today. I was 10-years-old and Wilshire Blvd. was still a muy busy thoroughfare then.) Unfortunately, my this first inquiry did result in a “No” that held until I got back to the curb where I was to wait for Dad as he made a turn around the block.
As I kept a vigilant eye for Dad, I felt someone tap my shoulder. I looked up with nary a look of surprise to gaze at a handsomely dressed woman. She smiled this congenial smile and asked, “Are you trying to get tickets for Tut.” This wasn’t a “Stranger Danger” moment as she looked like she’d been to Bullocks Wilshire and that mattered to me then. Haha. I think I said something like, “Yes, ma’am. But there aren’t any tickets.” She then reached into her pocketbook and pulled out one of those Golden King Tut tickets from her pocketbook.
You could almost hear an angelic choir at that moment. I went’ from a “No” to a shocking “Yes!” Fortune really favors the child left alone on a busy street, dammit!
“My friend isn’t able to make it, so why don’t you take it,” she said.
I wish I remembered more of that exchange because all I know is after saying “Thank you, ma’am!” I took a good look at that ticket just as Dad pulled up to the curb. I do remember that I was too excited to enunciate, “Dad! I got a ticket. Look!” Dad smiled this huge smile.
Then I said, “I’ll be right back. I’m going back in!” And boom, I was off!
Oh, how my family and I discussed the selfishness. The lack of awareness. The utter glory of my young self-absorption! For years! Reflecting on that moment now, I know my Dad would have never left me in the car while he walked through the exhibition… again. Although, he did leave me to my own devices at the ticket office. Whatever. The important thing was for me to say, “Dad. Here’s the ticket.” For him to decline it would be a lesson in how we sacrifice our own needs and feelings. (Orale, Latinos católicos! Guilt starts early!) Haha.
Well, it is kind of true.
I do remember Dad’s dejected look as I turned and walked away. When we got home, I remember the silence in the car. I knew I hurt him a little. Once home, I also remember hearing Mom and Dad talk about my brazen nature, my incredible luck, and my brazen nature again. It was followed by laughter, but I knew I disappointed them. Hell, I’d live to disappoint them again and again, but this episode remains my favorite since it carries a better layer of charm and innocence.
In the end, we both did get our chance to share the Tut experience in 2005 when “Tutankhamun and the Golden Age of the Pharaohs” made its appearance at LACMA. This time, the entire family made the trek to Wilshire Blvd. Of course, that adventure is marked by Mom saying, “Hmmm. This looks smaller than the exhibition your father and I saw in Cairo. You know, in Egypt.” (Hahaha. Yes, we’re THAT family.)
In the end, my globe-trotting parents did venture to the land of Pharaohs to get a singular view, first hand, to the wonders of Tut and more. As much as I envy them, I am also proud of my parents, who took their vacations in places far and further away. They were our first guides, showing us the way to see the world as a source of adventure. We were meant to leave our backyards to see what doesn’t have to exist in a museum brochure. As a result, we’ve created our brand of history, too, and I love that.
It’s wonderful to see our family history repeating itself as Tut has returned to LA yet again. It’s been 100 years since Tut’s tomb was discovered, thus the largest exhibition of artifacts ever will be touring the world to honor the occasion, perhaps the last time they will ever be seen outside of Cairo. Los Angeles was selected to host the world premiere of “King Tut: Treasures of the Golden Pharoah” at the California Science Center. Of course, my family and I made the journey yet again and yes, the day is sold out. However, due to Dad’s current health issues, he won’t be able to make the trek to the California Science Center with us. Mom and Neto were also down for the count due to having colds.
My family and I know we don’t need a reason to celebrate the 40th anniversary of “The Adventures of Dad, Jorgito, and the Golden King Tut Ticket of 1978.” It is a bummer to note that glorious golden mask can no longer leave its home in Egypt. It just means our spirit of adventure will take us to the heart of the Nile, see the pyramids, and give them our best from our parents who stood there in awe and joy so many years ago.
This is such a powerful full circle moment nonetheless, one I will share with Poppadoodles when we return from our visit with El Rey Tut. I am reluctant to write more now as I feel tears building up. I have so much more to say to Dad from “Remember when?” to “Thank you” to “You were so right!” That’s a conversation that has to happen sooner than later and time is no longer on our side, I’m afraid.
As my family and I take in these treasures anew, I can’t help be reminded of the beauty of history. Wherever these essays may rest long after I’m gone, I hope people will appreciate the love and respect that remain the hallmark of my Dad, as a parent and a human being. What I hope is also unearthed years from now is that our history as father and son, and as the Carreon Family as a whole, was a precious one indeed.
In my first conversation with President Trump on Inauguration Day, I thanked him for the positive things he had said about the Dreamers. He looked me in the eye and said: “Don’t worry. We are going to take care of those kids.”
Despite many of the terrible immigration policies this Administration has put forward, I have always held out the hope that President Trump would keep his word and “take care” of the Dreamers. After all, the President told America, “we love the Dreamers.”
But today’s announcement from Attorney General Sessions was cold, harsh, threatening, and showed little respect, let alone love, for these Dreamers.
Starting this countdown clock will require Congress to act fast to stop rolling mass deportations of hundreds of thousands of young people—students, teachers, doctors, engineers, first responders, servicemembers, and more. Families will be torn apart and America will lose many of our best and brightest unless Republicans join with Democrats to right this wrong immediately. I first introduced the Dream Act sixteen years ago to ensure these young people could stay here, in the only country they’ve ever known. Now Congress must act on this bipartisan bill, and act now. These families cannot wait.
— A statement from U.S. Senate Democratic Whip Dick Durbin (D-IL), ranking member of the Judiciary Subcommittee on Immigration.
The intent of the Deferred Action for Childhood Arrivals (DACA) policy signed by President Barach Obama in June 2012 was to allow undocumented immigrants who entered the country as minors to receive a renewable two-year period of deferred action from deportation and eligibility for a work permit. As of 2017, an estimated 800,000 young people, also referred to as “Dreamers” (after the failed DREAM Act), enrolled into the program. As for September 5, 2017, DACA is no more. Now, they face an uncertain future, whether they enrolled into the program or are no longer eligible for its protection.
Living in fear as an undocumented individual is just one of the many realities faced by millions of people living in the United States today. Historically speaking, to be an immigrant is to be responsible for all the societal ills and woes of a nation. We’ve seen what humanity can do when it vilifies and turns against “The Other,” that group of people who become the target of genocides and “final solutions.” How anyone can venerate such monsters, as witnessed in Charlottesville, Virginia last August is beyond the pale. Yet, we have only begun to see the ramifications of a president who has inspired those living with white privilege to exact a sense of revenge, of taking back a country they feel has gone to the dogs. That’s what many of us are to certain sectors of America, animals unworthy of being deemed human.
Since Trump took office, he’s made an art of playing to the cheap seats, that coterie of angry trolls sporting those damn red caps with the legend “Make America Great Again.” His propagandist rhetoric continues to target journalists, Women, the Muslim community, Black Americans, the LGBTQ community, the Latino Community, anyone who just isn’t white. He targets anyone with a brain able to deduce just how dangerous his screaming brat mentality really is for us all.
Trump wants to be worshipped, not challenged, even by those he chooses to marginalize. He demands your respect, although he’s done nothing to earn it. To challenge him is to stir his pitchfork mob of fans while most the members of his political party of choice opt to stick its head in the sand or stay silent. All fear to lose their moment of power, even if it means sacrificing the greater good of the nation. I often wonder who will stand up for anyone if most of the nation is excluded from the bullshit Trump country club our president and his acolytes have chosen as its manifest destiny for our nation.
Our most treasured national icon, the Statue of Liberty, is an ageless beacon, offering shelter from the storms of inhumanity elsewhere. Trump has turned our borders into the frontline of class and racial warfare, its motto is “Keep Out. You Don’t Belong Here.” If we are now known for turning people away, mercilessly deporting the rest, how will that not stop the war on terror? How will it not inspire new groups to target this great nation with their own brand of wrath? We cannot keep punishing the many for the sins of the few who refuse to honor decency and peace.
This entire nation owes its very identity and soul to the millions of other immigrants who have risked life and limb for decades to secure a better life for themselves and their families. To believe otherwise is absolutely un-American. Perhaps if those who fear “The Other” understood that not everyone who dares to call America their new home is a criminal run amok. Perhaps they need to be reminded of the ones who come here for a specific reason, to find their version of the American Dream. Like my parents. Like many of my friends’ parents and families. Who knows what immigrants can offer this nation in terms of innovation, inspiration, and beneficial to us all lucky enough to be citizens of the United States. Perhaps they need to know that not everyone who comes here is looking for a handout or abusing the social welfare system. I offer one reminder for your consideration.
In 2005, writer Joshua Davis penned an extraordinary article for Wired Magazine chronicling the lives of four undocumented teen boys from Arizona. What made them unique? They bested universities such as MIT and Harvard to win a robotics prize at UC Santa Barbara. Titled “La Vida Robot,” Davis’ meticulously written story of Cristian Arcega, Lorenzo Santillan, Luis Aranda and Oscar Vazquez’s journey to victory was truly the stuff of Hollywood films. A decade later, that film, rechristened “Spare Parts,” was produced.
Directed by Sean McNamara and starring George Lopez, “Spare Parts” benefited from the momentum of the early DREAM Act (DACA) era, when the Latino voice had never been more urgent in terms of our national narrative. While the film relied on the “feel good” tropes of the underdog story, it did not shy away from the fact that these “illegals” are not the enemy in this ugly, paranoid era of fear mongering and reactionary politics.
I had the privilege of meeting journalist Joshua Davis and the real boys of Carl Hayden High, interviewing them and their cinematic counterparts for Pantelion Films. Along with producer and star George Lopez, they first expressed the importance of the Latino imprint in terms of mainstream films. However, their ultimate goal was to not only provide quality entertainment, it was to also illuminate an essential community still undervalued or unfairly marginalized by some Americans.
“Spare Parts” opened in January 2015, renewing attention on the lives of Vasquez, Arcega, Santillan, and Aranda. Over the course of a decade, the group from Carl Hayden High School inspired countless newspaper and magazine pieces. Writer Davis followed up his “La Vida Robot” article with a book, also titled “Spare Parts,” catching up on the lives of the boys. Director Mary Mazzio was inspired by the Hayden students to create the documentary “Underwater Dreams.” The quartet was also included in “Dream Big,” an IMAX feature-length documentary about engineering achievements. Even the team’s famed robot Stinky had its moment when it was put on display at the film’s premiere at the Smithsonian.
“When Mexico sends its people, they’re not sending their best. They’re not sending you. They’re not sending you. They’re sending people that have lots of problems, and they’re bringing those problems with us. They’re bringing drugs. They’re bringing crime. They’re rapists. And some, I assume, are good people.”
Yet, with all the attention and praise for their underdog story, life after high school for Vasquez and several of his classmates has not been without its complications. As of 2014, Vasquez was able to secure his American citizenship after a challenging decade that saw him return to Mexico at one point. His return to his homeland meant a 10-year ban of re-entry to the U.S. It was or the assistance of Senator Dick Durbin, D-Ill., who helped overturn the ban, allowing Vasquez return to the States with a visa. Enlisting in the U.S. Army, Vasquez saw combat in Afghanistan before returning and finishing his college education. Now a U.S. citizen, he and wife Karla moved to Texas with their family, where he works in an engineering-related job with BNSF Railroad.
Aranda was already a citizen when the team won the robotics contest. Arcega and Santillan both attempted college careers but ultimately were forced to drop out due to the changes in Arizona state law that required all students without legal status to pay out-of-state tuition fees. Today, Santillan runs a catering company with former classmate Aranda, appropriately called Ni De Aqui, Ni De Alla. Translation? “Neither from Here Nor from There.”
“The Making of ‘Spare Parts'” featurette produced by Jorge Carreon @ Monkey Deux, Inc., edited by Steve Schmidt and Drew Friedman for Pantelion Films.
The effect of this unilateral executive amnesty, among other things, contributed to a surge of unaccompanied minors on the southern border that yielded terrible humanitarian consequences. It also denied jobs to hundreds of thousands of Americans by allowing those same jobs to go to illegal aliens. —
From U.S. Attorney General Jeff Sessions statement on the Trump Administration’s rescinding of DACA, September 5, 2017,
As of September 2017, the more than 800,000 undocumented children brought to the U.S. by their parents are awaiting the other chancla to drop now that “President” Donald J. Trump has announced the end of DACA. Its effect will be catastrophic, breaking families apart and ending opportunities, like finishing an education or gainful employment, that have been hard won. What we stand to lose as a nation, however, is on par with a lobotomy.
The hope generated in 2012 when President Barack Obama signed this bold piece of legislation into effect was designed to protect them from a growing sense of paranoia and fear stoked by members of the GOP, and especially, Trump. They don’t know who are the Dreamers affected, nor do they care. Trump’s campaign engaged classic fear-mongering tactics, stoking the fires of intolerance with his supporters. It didn’t matter if the facts were true or not. The lack of employment, our border safety, our homes, our lives, we were all under attack by this scourge of evil from Latin America or elsewhere. We smirked that Trump could never be elected on such a brazenly racist and xenophobic platform. No one was laughing as the election proved otherwise. Now we have the sound of fear and it is palpable. (That American-born Latinos even voted for him because they deemed “her” unpresidential and untrustworthy is a testament to self-loathing that deserves its own essay. I say to them now, “Look what you’ve done to your brothers and sisters in blood. Shame on you.”)
As the child of immigrant parents, I am beyond angry. As an American citizen, I am ashamed. I wasn’t raised to hate people. I was raised to believe in the innate good of humanity, because good can flourish, even in the direst of times. Yet, to be told that I’m not good enough to be an American because of my Latino heritage or my sexuality is enough to make me want to take up arms. This is not the America that raised me and I’ll be damned if I let it harm anyone else out of fear and intolerance. What Trump offers is not the American Way. It is HIS way. That’s not good enough, not for this beautifully diverse nation.
Immigrants are not here to eradicate white history or white privilege. Nor are they here to tear this country asunder. That is a total lie to keep the status quo of xenophobia. We excuse the horrors of white terrorism, but movements like Black Lives Matter are deemed dangerous, inspiring legislation to declare such movements as being illegal.
American history was never just white. It is every color and creed and orientation, no matter how hard people try to obfuscate it. We are at a crossroads that will have consequences for generations to still to come. What we lose by excluding the many undocumented individuals now forced to live in the shadows again won’t be felt immediately, but it will be felt. Nothing stirs up a public more than paying for the poor decisions of our leaders. And we will pay for the loss of DACA is many ways, socially, morally and economically.
We are deporting the wrong groups of people. To be silent is to be complicit in this cruelly interminable series of unjust and un-American traitorous political acts. If we continue down this path of eradicating those deemed unworthy of citizenship, we will cease to be the United States of America. We will become the Dishonorable States of Trump, a soulless and rudderless nation offering nothing but a smirk, hatred, and violence to the world that once looked to us for guidance, protection, and inspiration.
**Now that the DACA program has been shut down, here is a breakdown of the Trump decision and what people should know:
Some DACA recipients won’t lose their DACA on March 5, 2018: People who have DACA now and whose DACA doesn’t expire until after March 5, 2018, will continue to have DACA and the work permit that comes with it until the expiration date of their DACA.
It’s too late to apply for DACA: The president ended the program so from Wednesday (September 6) on no more applications for DACA are being accepted.
A deadline that shouldn’t be missed: People whose DACA expired Tuesday, September 5 or will expire Wednesday, September 6 through March 5, 2018, can renew their DACA, but they must apply by October 5.
The ball is in Congress’ court – or Trump’s?: Between now and March 5, 2018, Congress can draft legislation to revive DACA, come up with a substitute or even do away with what the administration has put in place. Some opponents of DACA disagreed with the program being authorized by the president but may support a congressionally created program. Late Tuesday, Trump tweeted that he may “revisit” the DACA issue if Congress doesn’t act.
Legal challenges could play a role: There’s always a possibility of a court case. President Donald Trump came up with the DACA phase out plan under threat of legal action by a group of state officials. A young immigrant and immigration group filed a lawsuit in New York Tuesday challenging Trump’s action. There could also be discrimination lawsuits as a result.
Me: In Mexico. Visiting her family. She’s coming home today.
Dad: I’m fine. I don’t need you here. I’m tired. You should go.
That’s when I called my sister…
The day didn’t start out this way. That exchange happened around 6 pm. We’d made a day of it, Dad and I. We ran errands, had lunch, even went to a movie together. Then things got a little complicated, ending with my saying to my older sister, “Thank God for pharmaceuticals.” In the end, I had to turn my Dad into Neely O’Hara to restore order. Under normal circumstances, this day out with Dad should have been like it was 40 years ago when we were father & young son. Now the roles are reversed, but with one crucial difference: Alzheimer’s.
Being with an Alzheimer’s patient is a bit like being in a scene from “Groundhog Day.” Repetition is the name of the game and it requires a decent amount of patience and humor when they are this stage. You push away thoughts about the silence still to come when they enter a state of haunted immobility as they no longer engage with the world. For now, we can still have conversations. These are comprised of lightning rounds of the same group of questions as they fixate on specific topics. In my Dad’s case, it usually involves the measurement of space or time.
I was assigned one day to sit and care for Dad, which was also the day Mom was to return from visiting her family in Mexico. Dad’s mental long play record was stuck in one groove. His current jam was the track about where was Mom and when would she return. My younger sister had gone to work and I was chuffed by the idea of getting to spend time with Dad in during the regular week. I sat in our family home living room, taking care of Emails as Dad took his usual spot, the outside porch. Yet, for the next 90 minutes, he’d rotate from the living room to the porch. Each time Dad would enter the room, he’d ask:
Dad: Tu viniste a cuidarme?
Me: Si, papá.
Dad: Muy amable.
He seemed touched to know I had been asked by the family to take care of him. He’d rap on the table, an emphatic gesture that made me smile. An hour or so later, his pacing evolved into that of a caged animal. His eyes glittered in a unique way and the rapping, which at first felt like a war buddies fist bump, now had a tone of anger. Without hesitating, I took Dad on a Target run.
My Dad has been afflicted with Alzheimer’s for well over a decade. We’ve been fortunate to have him mentally present with us for so long. He recognizes my mom and sister, who care for him 24/7. As for the rest of my siblings, we are in iPod shuffle mode. Sometimes he knows who we are and we ignore the times he doesn’t.
Sometimes we are simply “los muchachos,” a catchall term that refers us as being his “kids.” It offers its own comforts, being part of that group memory. We’re still his children. Then reality takes over. One time, he told Mom I couldn’t be his son since I’m too old as he’s only in his 50s. I go, “Mom, that makes you an OG cougar.” We both laughed. You have to laugh, otherwise, you cry.
Dad’s eating habits are changing. Texture matters, in addition to the color of his food. At times, he can forget when he’s had a meal, then he’ll insist that he hasn’t. He is losing weight. He’s irascible at times, the Latino machismo surging to a boiling point when contradicted. Again, those glittering eyes are a sign for us to be calm. That’s when he’s in that “mad” mode.
My mom and sister have learned to wait out the tantrums instead of fueling them further, although I see now why Mom has no fuse at all anymore. Their matrimonial sea roils and it calms itself just as suddenly as if nothing happened at all. Yet the after effects are revealing the wear on her, too. The one saving grace? Whenever things do get too intense, Dad’s physician has prescribed Dad a mild sedative. Yes, it is on par with giving a screaming toddler Benadryl, but sometimes…
I can see Dad’s age now. He’s 92. I regret not getting him on record to capture his view of the world, the chronicle of a Mexican immigrant father, businessman, and world traveler projected against the canvas of contemporary history. Today, he can’t differentiate what he sees on the television screen, fictional or otherwise, from his real life.
When we do receive those treasurable moments, though, it is on par with winning the lottery. Like the time, I went to meet Dad and my younger sister for a showing of “Atomic Blonde.” As they entered the cinema, he saw me and instantly opened his arms for a hug. Usually, he just offers a gentlemanly handshake and a pat on the shoulder, which was his way. But this was wonderfully different. For a moment, we were on the track many grown sons are with their older parent.
Families, particularly Latino families, do not like to share the truth of their loved ones’ health, especially serious conditions. For whatever reason, illnesses are a “private matter.” We become traffic wardens, telling onlookers, “Move along. There’s nothing to see. Everything is alright.” But everything is not alright. Our parents will get sick. They will change because of an illness, not because of some cosmic punishment.
I understand the desire, particularly when it comes to our parents or grandparents, to want people to remember how they were and not as their infirmed selves. It is such a waste of time, time left with us that we can’t possibly measure or gauge. Family can become so entrenched in denial. Better living through chemistry, at least when it comes to Alzheimer’s, yes. But the truth is it is just a stop gap.
I see where we are heading with Dad. That’s why I choose to laugh now about his, “Yo soy el dueño de esta casa” demeanor. It wasn’t easy knowing he wanted me to leave his house. My work caring for him was done and he wanted his independence and space back. Later that night, I regaled my Mom and younger brother about how Dad refused to go to sleep because he wanted to make sure I wasn’t going to “steal his shit.” Eventually, like a toddler, sleep caught up with him. Granted it was aided with the sedative I gave him a few hours earlier, but our cherished Poppadoodles was finally having a well-deserved rest.
I do not regret the frustration I felt at times that day. At times, I wanted to just yell, “Why don’t you understand?” I felt robbed because I can’t stop thinking about the conversations we could be having now we are both able to communicate again. It all seems so unfair. I can’t tell him I finally understand what he tried to teach me when I was a kid. I can’t tell him how he hurt me when I came out to him 17 years ago. I can’t tell him that I forgive him. I can’t share with him how I think this full circle reality we share is so good and inspiring to me.
Like “Groundhog Day,” we will be back at the same starting point the next day and the one after that. Our “Dad’s Day Out” will be forgotten, but how marvelous to know that when we do get to do this again it will be like a brand-new adventure. We have nothing to mourn or feel sorry about here. Dad is a part of many lives, not just with the family here and in Mexico, but our friends, too. As long as that smile still shines through I will remember what his mind can’t hold anymore. It’s the ultimate privilege and the best story I am ever going to be able to tell.
From the Alzheimer’s Greater Los Angeles website:
“Alzheimer’s Greater Los Angeles is a leader in developing culturally and linguistically appropriate programs and services, including those for Latinos. Research shows Latinos with dementia are low users of formal health services and less likely than non-Latinos to see a physician. Given the significance of familia in the Latino community, families (particularly daughters) provide a disproportionate share of Alzheimer’s care.
In order to reach these women (and their families) ALZGLA has taken a creative approach…we produced a bilingual, educational telenovela. Lost Memories tells a story familiar to many Greater Los Angeles families. It also disseminates complex medical and health information to caregivers with the goal of raising awareness of Alzheimer’s, fighting stigma, and encouraging Latino families to seek help sooner.
In honor of Latino Heritage Month,the 4-episode web series will debut September 19 at alzgla.org and on YouTube.
“The American people are turning sullen. They’ve been clobbered on all sides by Vietnam, Watergate, the inflation, the depression; they’ve turned off, shot up, and they’ve fucked themselves limp, and nothing helps. So, this concept analysis report concludes, ‘The American people want somebody to articulate their rage for them.'”
— Diana Christensen (as written by Paddy Chayefsky) in “Network” (1976)
“Military solutions are now fully in place, locked and loaded, should North Korea act unwisely. Hopefully Kim Jong Un will find another path”
— As Tweeted by Donald Trump, “President” of the United States (2017)
“It seems fitting to begin with the end.”
That’s how journalist Harry F. Waters’s cover story on “The Day After” for Newsweek began. I’ll never forget reading that piece, nor that opening line. The publicity machine over at the ABC network had been working overtime. TV Guide featured its own cover story and countless news reports added further momentum, worrying that the highly publicized telefilm’s depiction of the aftermath of a nuclear war on midwestern Americans would be too graphic and devastating for audiences, especially children. Others declared it was merely a leftist polemic for ratings. Yet, ABC did detonate one of the most watched television events ever with “The Day After,” a three-hour telefilm that answered of the ultimate “What if?” question. And more than 100 million people in 39 million homes tuned in one November night in 1983 to find out the answer.
Directed by Nicholas Meyer and featuring an ensemble led by such era heavyweights as Jason Robards, John Lithgow, JoBeth Williams, Amy Madigan & John Cullum, “The Day After” was actually conceived as a two-part event. In the end, audiences would witness a three-hour film chronicling the lives of several Kansas families as they deal with the horrific aftermath of a nuclear exchange.
Whatever its technical limitations, the irradiated images of blast vaporization, flash burns, radiation sickness and the futility of restoring even the most basic of societal structures burned into the consciousness of a generation. President Ronald Reagan, who viewed the film prior to its airing, credits the experience as being the reason why he reversed his stance on certain nuclear arms policies. (Reagan wrote in his diaries how the film was “very effective” and left him “greatly depressed.”)
Broadcasting a political statement as “entertainment” into the nation’s living rooms remains its hallmark. It was polarizing, but we had to watch, my family included. I recall how we sat in the den, my Dad, my sisters, and I. Mom or my younger brother weren’t present. Maybe, maybe not? What I do recall was sitting on the floor, leaning against the sofa and whispering, “Here we go” as the movie began. And our collective nuclear fears hit an unforgettable peak for the rest of the decade.
And we are still here.
In the 34 years since “The Day After,” we’ve seen and heard elected officials, dictators, religious zealots, grandstanding fringe media show hosts and a rogue’s gallery of other malcontents wax lyrical about warmongering. Then America elected Donald Trump.
Flannel shirts. Will & Grace. Roseanne. David Letterman. Fiorucci. Nuclear war! Sooner or later, everything comes back in vogue. Even the end of the world. Or maybe that prospect has never left us?
To those who know me, I am obsessed with apocalyptic fiction. I don’t know where it began, but movies, novels, mini-series, I loved the idea of “the end.” Hell, I even read the endings of books and hit Wikipedia to see how other narratives end. Haha. So, “When Harry Met Sally,” yo. I still joke that such eccentricities were preparing me for the inevitable. I’ve written about this before, stating that I watch films like “The Day After,” “Threads,” and “Special Bulletin” because no matter what we go through today, it still isn’t a nuclear wasteland.
I guess the jokes on us? Maybe?
Seriously, Trump is the quintessential rebound boyfriend, the one that is a huge swing away from the one who treated you well, but you broke up with anyway. He’s that loud mouthed douche who talks a lot of shit but can’t back any of it up. He’s the surprise date your friend brings to dinner and you all wonder, “The sex can’t be THAT good. Why is he with him?” At best, he’ll leave you with a case of crabs, but that can be treated. At worst, he’ll leave you with a scorching case of the uncurable herp. And let’s face it, America, you can’t afford to be left with another social disease transmitted through “fake news” or abject hatred. Bad enough we don’t have the healthcare reform to treat it.
For those of you who lived through the Reagan era, the idea of witnessing a nuclear war was solid enough to kick start the low sweat stage in us all. Yet, how lucky to know we survived to see Trump engage in social media saber (i.e. penis) rattling. Now, I ponder whether “the end” as entertainment is no longer just a scary scenario. Can it manifest itself this time? And what does that mean for us all? It’s the end of the world as we know it, and I don’t feel fine after all.
At times, I wonder if we are better of being dust in the atmosphere, given what we’ve done to ourselves and our planet. Then again, I’m not ready for “The End.” I refuse to give up on my right to dream of a good boy or girlfriend, the one who makes us all think and laugh at the dinner table, the one who believes in justice for all. Let all the haters ride the bomb to oblivion. We can’t allow for stupidity to have its way again.