Oh, Fudge!

As I write this, we are still several days before Christmas, but as the song says, “We need a little Christmas now.”

In an attempt to start the holiday a bit early, Kathleen and I, with help from the grandkids, have made the inside of the house a sparkling display of Christmas lights. Then, in anticipation of a visit from Kristin and Kevin (daughter and son-in-law), we decided to make fudge over the weekend. We had never attempted this culinary treat before, but, I thought, as in the oft-quoted last words, “How hard can it be?” So confident were we of our success, that we opted for a double-batch of the chocolate delights. Kathleen carefully prepared and measured out all of the ingredients ahead of time, so my job consisted primarily of mixing it all together in a large pot and stirring constantly as it slowly built to a boil. Stage one went well, and a fascinating chemical process unfolded as the heat liquified sugar, butter, and other solid ingredients into a smooth, gooey concoction. So far so good.

Then, we added a massive amount of semi-sweet chocolate chips and miniature marshmallows. The going got tougher for your intrepid stirrer, and the liquid slowly morphed into a solid mass as those final ingredients were added. The plastic cooking spatula soon proved inadequate to the task, with the handle bending uselessly. I asked for a big, plastic spoon, but it, too, failed to make much of an impression on the huge, brown globule in the pot. Likewise for the metal spoon. Then a bigger plastic one. By this point I was dripping sweat and panting with exertion, so Kathleen pronounced it adequately mixed. She returned to her recipe and read, “Pour the contents into a shallow cake pan.” We burst out laughing, as “pouring” was clearly not an option with our volleyball-sized mess.

It was at this juncture that we realized something had gone terribly wrong, but we soldiered on. I placed the coffee-colored ball into the pan, and, with some considerable effort, mashed the malleable substance until it sort of resembled a one-inch-thick pan of fudge, albeit a bit lumpy. I was tired, but triumphant, as I slid the pan into the refrigerator in time for the kickoff of the SEC championship game. At halftime, we were ready for a tasty treat, so Kathleen pulled out the pan and tried cutting it into small squares. At least that was the plan. The knife she chose had little impact, so she called me over, and I gave it a shot. I tried for several minutes. Sounding like Chief Brody in Jaws when faced with his own great white shark, I said, “We’re gonna need a bigger knife.” After trying again with a larger implement, I chose a knife with a serrated edge. Then I tried a bigger blade that had teeth like a carpenter’s hand saw. By this time, we had tears in our eyes from laughing, but only an eighth-of-an-inch groove in the top of that cut-resistant substance. I found a knife with a sharp point on the end and tried to pound perforations into the fudge, hoping to break off pieces like plastic. No dice. I was heading downstairs to get the chain saw when Kathleen waved the white flag. So, the result was an inedible block of cement, and we didn’t get any fudge that night. We later determined that, when the recipe called for 5 ounces of evaporated milk, a number “one” in front of the “five” had been partially obliterated, and we missed it. It should have been 15 ounces. So, when we doubled the recipe, instead of thirty ounces, we used ten. That explains it.

Meanwhile, outside of our kitchen, the world remains a bleak place. Several times over the past couple of weeks, we have had more deaths from Covid in one day than died at Pearl Harbor (about 2400) or on September 11th (about 3000). As people are driven indoors by the colder weather, the Covid crisis continues to spiral out of control. The first doses of the vaccine have been administered, but it will still be months before we can start to feel safe again.

And the President . . . does nothing. He doesn’t even mention the virus in his increasingly rare public appearances. The only thing we have heard from him involve his self-absorbed and dangerous attempts to steal the election. He packed the federal courts over the past four years, counting on his hand-picked judges to vote his way should he lose the 2020 election. In terms of his law suits, his record thus far, however, is 0 and 50. Even the hapless New York Jets won once this year. Most of these efforts have been laughably inept, once being turned away by the Supreme Court with a one-sentence rejection. The problem is that courts want evidence, and Trump can’t understand that concept, since he has gotten his followers to believe everything he says without evidence for four years. Now that it’s clear he has been decisively defeated, most his efforts have been focused on trying to figure out how to pardon his friends and family for crimes they committed on his behalf.

While all of this has been going on, the most serious breach of our defense system during the computer age occurred, with Trump’s pal Putin hacking our top-secret security systems and obtaining access to everything from phone numbers to nuclear codes. And the President . . . remains silent. Thousands of jobs are disappearing by the day—and he does nothing. Congress is—finally—doing a little to help the people being destroyed financially by the crisis, but the President provides little or no assistance.

While the world crumbles around him, Trump has, for all intents and purposes, abdicated the office and retired to the golf course. In terms of leadership, during this crisis that has more aspects than a Swiss Army Knife has blades, we will have to wait until Jan 20 to see if anything can be done.

When I was a kid, I saw the 1957 comedy Auntie Mame, which was a tour de force for lead actress, Rosalind Russell. I liked it so much, that I read the Patrick Dennis book on which it was based. Then in 1974, I looked forward to the musical version of the book, simply called Mame. It was terrible, and Lucille Ball captured none of the flair of the original film. However, there was one shining moment in the musical version. That was a joyous Christmas song that sprang up right when the characters were at a low point in their lives. If you are not familiar with the story, Mame Dennis is a rich, eccentric woman raising her nephew in New York. When the Great Depression of the 1930s hits, she loses everything but her apartment. She and her loyal servants have sold off most of her furniture and everything of value to stay afloat, but Mame can’t hold a job and things look increasingly dire. So one day, Mame announces that Christmas is coming early this year because they need it so desperately. None of the actors, including Lucy, are singers, but the song captures the idea that we should never allow ourselves to be defeated by circumstances. We need some of that indomitable spirit for the final act of 2020.

So, like Auntie Mame, I’m declaring Christmas a few days early this year, because “we need a little Christmas now.”

Click on the link to see the song.

Have You Ever Noticed . . . Movie Edition

Andy Rooney, the bushy-browed curmudgeon on 60 Minutes, closed the show for over thirty years with his witty observations and wry comments about nothing in particular. While this was a popular segment of the show, it should be noted that he never said, “Have you ever noticed . . .” In 1981, however, Saturday Night Live’s Joe Piscopo  began impersonating him using that phrase and the newsman has been associated with those words ever since. Today, I’m going to steal the phrase to discuss something I recently noticed while watching far too many movies from the 1980s and ‘90s on cable.

Have you ever noticed how, fairly often, two or more movies with an almost identical plot or subject appear in about the same year? I’ve been aware of this for a while, but I didn’t know until recently that there’s actually a term for this phenomenon. It’s called “Twin Films” and it has been happening since 1934 when The Rise of Catherine the Great and The Scarlet Empress were both released at the same time, and both featured the long-dead Empress of Russia. In 1940, Young Mr. Lincoln and Abe Lincoln in Illinois appeared with the same subject matter. You’re probably remembering similar pairings of films now that I’ve mentioned it. Just three years ago, for instance, Dunkirk, Churchill, and Darkest Hour all dealt with Winston Churchill and the miracle escape by British forces from Dunkirk, Belgium in 1940. In fact, historical figures and events often figure in these remarkable coincidences. In the past quarter century or so, we’ve had Tombstone and Wyatt Earp (1993), Braveheart and Rob Roy (1995), Kundun and Seven Years in Tibet (1997), Prefontaine and Without Limits (1998), and Infamous and Capote (2005).

Other such similarities can be seen in The Prestige and Illusionist (2006), which both dealt with Victorian Era magicians, and Ed TV and The Truman Show (1999), both featuring a main character whose entire life is the subject of a reality TV show. Then, in 2011, both Friends With Benefits and No Strings Attached featured friends who agree to have a sexual relationship, but not get emotionally attached. Certainly, Hollywood is often accused of lacking originality and stealing ideas from any place they can find them, but is this simply a case of plagiarism? I’m not sure, but perhaps there is, on occasion, a script floating around Hollywood long enough that two studios decide to make the film, but only one wants to compensate the original creator for his or her work. I don’t understand how this happens, but I do know that the trend probably reached its peak in the late 1980s and early 1990s.

In 1987 and 1988, there were an astounding five films produced with virtually the same plot in a genre we’ll call “age-shifting.” In Like Father Like Son (1987), 18 Again! (1988), Big (1988), Vice Versa (1988), and 14 Going on 30 (1988), characters of different ages magically switch places, or a young kid suddenly becomes an adult. Freaky Friday (1976 & 2003) and 13 Going on 30 (2004) show the enduring popularity of this theme. Big, in which 12-year-old Tom Hanks changes into an adult overnight, was by far the best of this batch of films, and it leads me to another collection of Twin-type films.

I call these the “any idiot can do this job” films, and they were prevalent in the late ‘80s. I don’t know what the trend tells us about the time period. Perhaps it has something to do with having a mediocre Hollywood actor pretending to be president for most of the decade, but I think the trend began in 1987 with The Secret of My Success. In this film, just-out-of-college Michael J. Fox gets an entry-level job in the mail room of a big corporation, but he pretends to be an executive in order to move up more quickly. His innate financial wizardry helps him organize a hostile takeover of the company, proving that, although completely inexperienced, he deserves to run the corporation. That is the theme that runs through these movies: someone without qualifications finagles their way into an upper-level job, and ends up doing it better than their predecessor. The next year, Melanie Griffith, in Working Girl, follows this plotline as a secretary who lies her way into a position of power, but quickly puts together a blockbuster corporate merger. Also in 1988, Tom Hanks gave his career a huge boost with the aforementioned Big. Not only does the pre-teen magically become an adult, but he rises to the top of the toy industry because of his instinctive wisdom and child-like observations.

This theme continued into the early ‘90s, with SNL’s Dana Carvey starring as a con man in the underappreciated Opportunity Knocks (1990). While robbing a house, Carvey hears a phone message intended for the owner. Seeing the potential for a scam, he assumes the identity of the best friend of the wealthy son of a corporation CEO (played by Robert Loggia, who also played Hanks’s boss in Big). He uses this fake persona to impress the CEO with keen business insights based on a confidence man’s understanding of human nature. He ultimately confesses, but gets a top job with the company anyway. In 1991’s dark comedy, Don’t Tell Mom the Babysitter’s Dead, Christina Applegate is a teen who must get a job to take care of her younger siblings while her mother is out of the country for an extended period and the babysitter suddenly dies. She fabricates an impressive resume, pretends to be an accomplished adult, and quickly rises to the top of the fashion world as a designer and executive, proving that any high-school kid is capable of running a Fortune 500 company. Finally, in 1995’s Dave, Kevin Kline is a small-town man who resembles the President of the US. When the President is debilitated by a stroke, he is called in to impersonate the leader of the free world, and soon demonstrates that he is better suited for the Oval Office than the man who was elected to the position.

Most of these preposterous plots, then, are generally about people in lower-level jobs, who pretend to be executives, come up with brilliant ideas regarding their particular business, get huge promotions, and (with the exception of Big) get the girl or guy who was previously “out of their league.” In any case, all are designed to show that, under the right circumstances, “any idiot can do this job.” I don’t know if that’s true, but if you see something often enough, you start to believe it.

Finally, have you ever noticed how, when he has nothing particular to say, Jack still manages to waste ten minutes of your valuable time with a pointless blog?

I have.