Woody Speaks!

We have here a recent interview with Woody Allen about his films. The headline is a bit misleading. It promises you'll hear him speak about "Those Allegations," meaning the ones about sexual misconduct…and he does. He says he won't talk about them.

People keep asking me if I believe the charges or him. This may be a little difficult to explain but follow me for a moment. I think there's a limit to how much someone removed from the situation — someone following it only through the press — can know or be sure of anything. This is why we expect juries to actually appear in the courtroom and hear all the arguments before they decide. We don't just select twelve people to vote Guilty or Not Guilty based on what they've read on TMZ.

Still, we're all entitled to have an opinion if only as spectators from afar. Mine is that he didn't do it. Is this an opinion influenced by the fact that I admire the man and his work? Maybe. But maybe a filmmaker I like and admire is being unjustly accused. The statements of Moses Farrow, who was there at the time and was old enough to comprehend what was going on convinced me Mr. Allen was innocent. If I'm wrong, I'm no more wrong than one of the brothers of the alleged victim.

Recommended Reading

Joe Conason asks the very good question about why so many people who profess to follow the Bible and the teachings of Jesus Christ are so uncaring and hateful about hungry children trying to get to a better, safer place to live.

Tales of My Childhood #10

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My Aunt Dot (my father's sister) was a sweet, often confused lady. I was very fond of her but around the time I hit age thirteen, my mother told me something chilling that involved her sister-in-law.

My parents had saved up for and were about to embark on a two-week trip to Europe. I think it was the only time either of them went overseas in their adult lives and the only time my father crossed an ocean in his life. My mother had been to England once in her teen years before she met him.

It was not the most pleasant of trips. I don't remember specifically where they went but it sounded like one of those "If it's Tuesday, this must be Belgium" expeditions that crammed way too many cities into way too few days…so way too much of the time was spent packing, unpacking, checking in, checking out, getting onto buses, getting off buses, etc. I think they had one day — and not even a full one — in Paris. They liked that city or at least thought they might if they'd been able to experience any of it.

I know they came back disappointed. My father also had a lot of problems with the food and there were unexpected expenses and they never did it again. After it was over, he remarked that for what they spent for one two-week trip to Europe, they could have gone on fifty of their three-day jaunts to Las Vegas where they never had anything but a great time. He said, "There, I always know what I'm eating, plus I can gamble and see Shecky Greene."

That was true. When you go to the Teatro alla Scala in Milan, you rarely see Shecky Greene. You could attend for months and not see anyone named Shecky.

That was the only time they left me alone for two whole weeks. After that, it was a lot of those three (occasionally, four) day Vegas expeditions. I looked forward to their trips because it meant I had the house to myself. After I started dating, I really looked forward to them being away because I could bring a girl friend over. I'd say to my folks, "Hey, you ought give that two weeks in Europe thing another try" but they never did.

Anyway, before they left that one time for Europe, my mother said, "We've asked Dot to check in on you in case anything happens."

I said, "Name me one thing that could happen that I couldn't handle and where she'd be of any use whatsoever."

My mother thought for a second and said, "Okay, you have a point. But we asked her because she'd feel insulted if we didn't." That, I was sorry to admit, made sense. What didn't was what my mother said next…

"I don't know if we ever told you this but we've left you to her in our will."

I gasped, like the wacky neighbor in a bad sitcom, "What?"

She said, "Well, if something happens to us, like if we were both killed, you need a legal guardian. You're thirteen. So we specified that Dot would adopt you or become your guardian or whatever it is that happens."

I said, "You left me to a woman who can't heat up a can of Chef Boy-Ar-Dee spaghetti?" That was a true accusation. Years earlier, when I was too young to be left alone for a day, they'd parked me for an afternoon at Aunt Dot's. For that occasion and any such that might follow, she'd laid in a supply of the easiest food in the world to prepare — i.e., Chef Boy-Ar-Dee canned spaghetti.

In case you're unfamiliar with the procedure, I'll spell it out for you. You may wish to print this out, just in case…

You open the can. You empty its contents into a sauce pan. You heat the sauce pan on the stove for about four minutes. You turn off the stove, transfer the contents of the sauce pan into a bowl and serve with a side of fork.

Congratulations! You have just cooked spaghetti and are now eligible for a job in the kitchen of an Olive Garden near you.

I still don't know how she did it but Aunt Dot somehow managed to serve me Chef Boy-Ar-Dee spaghetti that was inedible. I think she'd studied the instructions on the can and somehow thought there was something in there about stirring in a full bottle of Lysol.

Reminding my mother of that legendary repast did not change the fact that Aunt Dot was poised to inherit me. "We have to designate someone," Mom said. "It's either her, your Uncle Nathan or someone on the East Coast." Maddeningly, she was right. My mother had a tendency to be that way: Maddeningly right.

So off they went for two weeks and I was fine alone. I could keep my own hours. I could fix food for myself. I could even heat up a perfectly-edible, Lysol-free can of Chef Boy-Ar-Dee spaghetti. Then one of those days, instead of just phoning to make sure I was alive and hadn't sold the house, Aunt Dot said, "I'm coming over tomorrow night to fix you dinner."

I said about fifteen times, "That won't be necessary" but she said about sixteen times, "You must be starving for a real dinner." I wasn't but if I had been, that need would not have been sated by what she brought over the next evening. It was not a can of Chef Boy-Ar-Dee canned spaghetti. It was — get ready to cue the horror movie music sting — a box of Chef Boy-Ar-Dee Pizza Mix in a box.

(Okay, here's the horror movie music sting…)

I took one look at it, heard that music in my head and thought, "This is not going to end well." I don't claim to be able to see into the future but sometimes, you know. You just know.

Making the Chef's pizza was more complicated than making his spaghetti. Then again, just about everything was more complicated than making his spaghetti.

This is from distant memory so it may not be 100% accurate but as I recall, you had to mix hot water, the envelope of flour and the envelope of yeast mix and let the dough rise for a while. Then you took a cookie sheet and applied a thin coating of oil to its surface. Then you molded the dough into a ball and put it on the cookie sheet, then flattened it out into a thin, pizza-like circle. Aunt Dot made it almost to this step before things began going horribly, horribly wrong.

Try as she might, she could not get the dough into the proper shape and thickness. She did it over and over and over again, each time wadding the dough back up into a ball and starting anew. Of course, every time she rewadded, the dough was oilier and therefore harder to manipulate.

Some interesting shapes emerged. One looked like the letter "R." Another resembled Dabbs Greer. Yet another called to mind a Rorschach test image of two dogs having sex. At one point, some odd configuration emerged and she asked me, "Does that look like a pizza?" I said, "No, it looks like a pancreas." I had never seen a pancreas but I would have bet my entire comic book collection that what she'd made looked more like a pancreas than it did like a pizza.

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Finally, she had something on the cookie sheet resembling the state of Florida and we decided that was as close to round as we were going to get. I pressed another cookie sheet down on it to make it properly thin and she poured on the sauce mix and sprinkled the cheese mix.

All this time, the oven had been preheating so it was ready to receive the "pizza." When she took it out, one-half was seriously overcooked and the other was seriously undercooked…and I detected the faint aroma of Lysol. We ate what we could of it and within the next week, Chef Boy-Ar-Dee changed his name to Chef Boyardee. I can't say how but I just know that Aunt Dot cost him his hyphens.

After the putative pizza was gone, one way or the other, Aunt Dot sat me down and gave me a speech I was to hear every time I was alone with her for years to come. "Mark," she said. "Everyone needs someone to confide in and I want you to know you can confide in me."

I was confused. "Confide what?"

"Problems you have, things that are going on in your head…the kind of private things you don't want to discuss with anyone…"

I was more confused. I didn't really have any problems — or at least none unrelated to my Aunt and a certain, soon-to-be unhyphenated chef. And if I did have private things I didn't want to discuss with anyone, wouldn't I not discuss them instead of discussing them with her?

But I would rather have hurt myself than Aunt Dot. You'll notice that I waited a good 34 years after she died to tell this tale in public. I said, "Uh, yeah, sure. Whenever I have something to confide in anyone, I'll confide it in you." That made her very happy. It did not escape me that she'd never had children and that I was about as close as she was ever going to get to that.

Every time I saw her after that, she'd get me alone and ask me if I had anything to confide. I honestly never did. I was the kind of kid who, if he had a problem, would solve it himself A.S.A.P. instead of running to someone else for help. And if I had had to run to someone else, I couldn't imagine her understanding the problem, let alone being able to contribute.

One time she asked me when I was around eighteen and at that moment, the big problem on my mind was this: I was going out that evening on my second date with a cute lady named Janey and I was pondering whether I should "happen" to have a condom or two along, just in case. If she got into a properly romantic mood, I could imagine her being really glad that I was prepared. I could also imagine her being really offended that I'd come to the date expecting to need one.

This is not the kind of problem you confide to your aunt unless your aunt is Dr. Ruth Westheimer. (As it turned out, I left a box of them in the trunk of my car, where it remained sadly untouched all evening. Just like Janey.)

I forget if it was my eighteenth or twenty-first birthday but at one of them, my mother said to me, "Congratulations! You no longer have to worry about being raised by Aunt Dot if you become an orphan!" That was almost as big a relief as getting a high draft number. But I still had to deal with Aunt Dot asking…practically begging me to confide in her.

I finally started making up phony problems and asking her advice. She was delighted even though, no matter how simple I made them, she never really came up with more of a solution than, "Well, you have to try harder" or "Well, you have to not let that bother you."

In 1980, she went into the hospital and it didn't look like she'd be leaving there alive. She went in on a Wednesday and because I was working on a TV show that was taping Thursday and Friday, I couldn't get over there until Saturday. I'd been told flowers were not allowed so I went to a store near me that sold silk flowers and I got her a small arrangement in a cute vase.

When I got to her room, she was asleep and the nurse suggested I let her stay that way. I left the flowers, went down to the cafeteria for a bite and returned an hour later. She was still asleep. I waited around a while, thinking up new bogus problems to "confide" to her but she was still dozing when I had to go. I told the nurse on duty to tell her that her nephew Mark was there and that the flowers were from me and I'd be back later.

That evening, I went back but she wasn't in her room. The same nurse told me she'd had an attack and had been rushed down to Intensive Care about an hour earlier. Then she added, "But she was awake for a while and when I told her the flowers were from her nephew Mark, she told me all about you. She said you were a very successful TV writer but she couldn't remember the name of a single show you worked on."

"Yeah, that's my Aunt Dot," I said.

The nurse said, "She said the two of you were very close and that you always confided in her when you had a problem."

I went to a pay phone and called my father to tell him Aunt Dot had been rushed to Intensive Care. He told me he'd just gotten the call that she had died there.

A few years later, I noticed in the newspaper that Ettore "Hector" Boiardi had passed away at the age of 87. Mr. Boiardi had changed the spelling of his name to become Chef Boyardee and the obit said that he was very proud that his canned foods had made it possible for anyone to prepare tasty Italian food in their own kitchen.

I don't believe in an Afterlife. At times, I have some trouble believing in this one. But it does please me to think of Chef Boiardi or Boyardee or even Boy-Ar-Dee entering the pearly gates. And there's St. Peter welcoming him, looking slightly ill with the faint aroma of Lysol on his breath saying, "Uh, Chef, there's a woman here I think you ought to meet…"

My Con Sked

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Thursday, July 24 – 11:30 AM to 12:30 PM in Room 4
SPOTLIGHT ON BILL FINGER

I am on (but am not hosting) this panel to celebrate and discuss the unbilled co-creator of Batman. Also on the dais will be Bill's granddaughter, ATHENA FINGER as well as MICHAEL USLAN, LEE "Catwoman" MERIWETHER, MARK TYLER NOBLEMAN, JENS ROBINSON, DR. TRAVIS LANGLEY and TOM ANDRAE.

Thursday, July 24 – 1 PM to 2 PM in Room 5AB
BATMAN IN THE SEVENTIES

In celebration of Batman's 75th birthday, panelists look back at a crucial decade in the life of the Caped Crusader. It was a time of change as new writers and artists brought forth new interpretations of this classic character. On hand to discuss it are many of the those who were there: NEAL ADAMS, DENNY O'NEIL, MICHAEL USLAN, LEN WEIN, and ANTHONY TOLLIN, along with moderator MARK EVANIER.

Thursday, July 24 – 2 PM to 3 PM in Room 9
JULES FEIFFER GOES NOIR

Oscar-Pulitzer-Eisner Hall of Fame winner JULES FEIFFER turns to the noir genre with his new graphic novel, Kill My Mother. Come hear a conversation with this comics pioneer who started with Will Eisner, went on to become one of the world's most-read comic strip creators, and eventually conquered the Broadway stage and Hollywood. Now, preview his return to his first love with a daring new work that stretches his talent yet again. Questioning by comics historians MARK EVANIER and PAUL LEVITZ, as well as audience members.

Thursday, July 24 – 3:30 PM to 4:30 PM in Room 8
THE SERGIO AND MARK SHOW

Usually, this is the panel where SERGIO ARAGONÉS and MARK EVANIER make empty promises of more Groo the Wanderer to come. This time though, there actually is new Groo with the release of the long-awaited Groo Vs. Conan miniseries from Dark Horse, to be followed closely by a new series of new Groo stories and a new series of old Groo stories and you'll hear all about it at the panel with Sergio and Mark and STAN SAKAI and the world's hardest-working colorist, TOM LUTH.

Friday, July 25 – 3:30 PM to 4:30 PM in Room 8
A CELEBRATION OF WALT KELLY'S 101st BIRTHDAY

Last year, we had such a good time celebrating the 100th birthday of the creator of one of comics' great newspaper strips that we've decided to keep the party going. Kelly's magnum opus, Pogo, is now receiving its first ever complete reprinting in an Eisner-winning series from Fantagraphics Books. Let's remember him with DAVID SILVERMAN (The Simpsons), JEFF SMITH (Bone), comic historian MAGGIE THOMPSON (Comics Buyer's Guide), film critic LEONARD MALTIN, CAROLYN KELLY (co-editor of the Complete Pogo series and Walt's daughter), and moderator MARK EVANIER (Groo the Wanderer).

Saturday, July 26 – 11:45 AM to 1 PM in Room 6BCF
QUICK DRAW!

It's still the fastest, funniest panel in the whole convention! Once again, your Quick Draw Quizmaster MARK EVANIER pits three super-speedy cartoonists against one another as they go mano a mano and Sharpie to Sharpie to create great cartoon art right before your very eyes. Competing this year are (as usual) SERGIO ARAGONÉS (MAD magazine, Groo the Wanderer) and SCOTT SHAW! (The Simpsons) and they're joined by Disney Legend FLOYD NORMAN, plus a couple of surprising surprises!

Saturday, July 26 – 1:00 PM to 2:30 PM in Room 6BCF
CARTOON VOICES I

Each year, moderator MARK EVANIER gathers together a bevy of the most talented cartoon voice actors working today and invites them to explain and demonstrate their artistry! This year's lineup includes JIM CUMMINGS (Winnie the Pooh, The Penguins of Madagascar), JOSH KEATON (The Spectacular Spider-Man, Green Lantern), SHERRY LYNN (Wall-E, Ice Age), ARIF S. KINCHEN (MAD TV, Grand Theft Auto), DAVID SOBOLOV (Transformers Prime, Avengers Assemble) and COLLEEN O'SHAUGNESSY (Toy Story 3, The Avengers: Earth's Mightiest Heroes).

Saturday, July 26 – 4 PM to 5 PM in Room 28DE
ABRAMS COMIC ART PREVIEWS

I am on (but not hosting) this panel to spotlight great new books about comic art coming from one of the world's great publishers of volumes about art, Harry N. Abrams Books. Or at least, I'll be on the first part of this panel before I have to run and host…

Saturday, July 26 – 4:30 PM to 6 PM in Room 5AB
THAT 70'S PANEL

It was a time of change in comics with a new generation intermingling with the old and taking command. Hear what it was like from STEVE LEIALOHA (Howard the Duck, Spider-Woman), LEN WEIN (Swamp Thing, The New X-Men), WALT SIMONSON (Manhunter, Batman), LOUISE SIMONSON (Creepy, Eerie), ANTHONY TOLLIN (Batman, Superman), and more, plus moderator MARK EVANIER (Groo the Wanderer, Blackhawk).

Sunday, July 27 – 10 AM to 11:15 AM in Room 5AB
THE ANNUAL JACK KIRBY TRIBUTE PANEL

Each year, we set aside time to talk about Comic-Con's first superstar guest and the man they call The King of the Comics, Jack Kirby. Jack left us in 1994 but his influence on comics, film, and this convention has never been greater. Discussing the man and his work this year are LEN WEIN, SCOTT SHAW!, CHARLES KOCHMAN (editorial director, Harry N. Abrams Books) and Kirby family attorney PAUL S. LEVINE, plus members of Jack's family. And of course, it's moderated by MARK EVANIER.

Sunday, July 27 – 11:30 AM to 12:45 PM in Room 6A
CARTOON VOICES II

Yesterday's Cartoon Voices panel will have been such a hit that today we'll have to do another one with different but equally talented actors from the world of animation voicing. Once again, moderator MARK EVANIER has assembled an all-star dais that will include GREGG BERGER (The Garfield Show, Transformers), VANESSA MARSHALL (The Spectacular Spider-Man, Young Justice), FRED TATASCIORE (The Hulk and the Agents of S.M.A.S.H., Kung Fu Panda: Legends of Awesomeness), DEBRA WILSON (MAD TV, Family Guy), ROBIN ATKINS DOWNES (Star Wars: The Clone Wars, Thundercats), and maybe someone else.

Sunday, July 27 – 2 PM to 3 PM in Room 25ABC
COVER STORY: THE ART OF THE COVER

What does it take to make a great cover for a comic book? Let's ask five top artists…all folks who've created some of the best. Come hear the "shop talk" of MARK BROOKS (Amazing Spider-Man, The New X-Men), AMANDA CONNER (Power Girl, Harley Quinn), JAE LEE (Before Watchmen, Batman/Superman), STAN SAKAI (Usagi Yojimbo, 47 Ronin), and FIONA STAPLES (Saga, Trick 'r Treat). Moderated by MARK EVANIER.

Sunday, July 27 – 3 PM to 4:30 PM in Room 25ABC
THE BUSINESS OF CARTOON VOICES

Interested in a career doing voices for animation and video games? There are plenty of people around who'll take your money and tell you how to go about it…but here's 90 minutes of absolutely free advice from folks who work in the field. Come hear cartoon voice actor BILL FARMER, talent agent SANDIE SCHNARR (AVO Talent) and others, along with your moderator, voice director MARK EVANIER (The Garfield Show).

As always, participants and times and everything is subject to change. I suggest that if you want to get into the Cartoon Voices panels or Quick Draw!, you get there well before their start times. Tuesday would not be a bad idea.

James Garner, R.I.P.

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No stories.  No anecdotes.  Never met the man.  But boy, he was a good actor who made a lot of real good TV shows and some mighty fine movies.

Dying Is Easy…

I'm not a big fan of books and classes that purport to teach comedy writing. First off, way too many of them are taught by folks who are trying to make money that way because they can't make it by actually writing comedy. Secondly, there is an aspect of Being Funny that can't be taught, or at least can't be taught to someone who does not already have at least a smidgen of it. And if they do have it, there's an awful lot to say. One of the reasons I stopped teaching Comedy Writing down at U.S.C. was that I felt I couldn't teach enough of substance to my students in two hours a week.

In the past, when people have asked me to recommend a book on the topic, I've balked and said if there is a good one, I haven't seen it. Well, now I've seen a pretty good one, at least about one kind of jokesmithing. It's called Comedy Writing for Late-Night TV and it's an amazingly thorough book on the subject by Joe Toplyn.

This is not me shilling for another of my writer buddies. I don't know Joe beyond a fast handshake and a "nice to meet you" but have heard many good things about him from folks who worked, as he did, over on The Tonight Show with Jay Leno. Joe's first big gig was writing for Letterman, back in what some would describe as Dave's Golden Era. After that, Joe transitioned in and out of sitcoms before returning to late night with Chevy Chase's talk show, a program that could not have been saved by the combined writing prowess of every single Jew who ever worked for Sid Caesar.

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After that, Toplyn signed on with Leno…and this was the period when Jay was getting beaten soundly in the ratings by Letterman. From all reports, Joe was a major contributor to the reversal of fortune, especially in increasing the quality and volume of the show's comedy bits apart from the monologue. He writes about that turnaround in the rear of his book and the many pages before discuss the construction of those comedy spots.

What I like about this book is that it doesn't purport to tell you what makes a joke funny. Jokes are like frogs: You can't dissect them without killing them. But there is much to learn about the handling and the organization and the disciplines and most of all, the structure. And if you yearn to write for that kind of TV show, you couldn't find a better book telling you how to go about it. So here's my recommendation and an Amazon link. Use it in good health…and humor.

Today's Video Link

Here's a terrific profile of the late Elaine Stritch…

[UPDATE ON SUNDAY: I have removed the video embed because it was doing naughty things to my site loading more cookies than Mrs. Fields sells in a year and slowing down the entire weblog.  You can view this fine video here.]

Saturday Morning

I've received quite a few e-mails debating whether or not Texas has the legal right to split itself into five separate states. This still strikes me as something that's never going to be seriously attempted so I've decided the discussion of whether it's legal can wait until it's a possibility.

Also in the e-mailbag: For a long time, I used to get messages from people who claimed to read this blog and believe I've said on it, not just once but many times, that I thought Barack Obama was a perfect president and that everything he said or did was perfect and infallible. I am somehow now getting all those same messages except about Hillary Clinton. I not only don't feel that way about those two individuals but (a) I've never felt that way about anybody in politics, (b) I don't expect to ever feel that way about anybody in politics and (c) I find it tough to believe that anybody feels that way about anybody in politics. Some folks though don't like to admit that the person for whom they voted fails them in any way except to not be Liberal Enough or Conservative Enough.

With Comic-Con only days away, my knees — both of 'em! — have started giving me trouble again. I think/hope it's just the excessive humidity we've been experiencing lately in Los Angeles. You know, if I'd known my knees were going to hurt so much when I reached this age, I would have become a rich and famous pro football player when I was younger.

There are two rumors circulating throughout Hollywood about who's going to replace Craig Ferguson in the 12:35 AM weeknight time slot on CBS. One is that no one is. The other is that many people are. In the first rumor, CBS decides to go another way with the hour and schedule a news-oriented program with overtones of Nightline, or perhaps an interviewer more in the Tom Snyder/Larry King tradition. (Hey, Larry's not doing anything except wandering up and down Canon Drive in Beverly Hills, hoping people will recognize him.) In the second rumor, CBS keeps the Late, Late Show name and format but brings in a series of rotating hosts, waiting for one to click into place. Which is more likely? I dunno…but I bet whatever they put there, it'll be a real low-budget affair.

Back later, I suppose…

Too Much News

So we have the tragedy of the Malaysian Airlines plane being shot down and we have the new eruptions of war betwixt Hamas and Israel. I don't have a lot to say about either, though I will direct you to Fred Kaplan, who feels that it's foolish for Israel to send ground troops into Gaza.

The airplane disaster reminds one of Pan Am Flight 103 which was destroyed by a terrorist bomb in 1988. I don't recall any American politicians or pundits using that to try and score points against then-prez Ronald Reagan but I guess everything bad that happens is now Obama's fault.

Bargain Basement Brooksfilms

Hey, you like Mel Brooks movies? Want copies of Blazing Saddles, Young Frankenstein, Silent Movie, Robin Hood: Men in Tights, To Be or Not to Be, History of the World – Part 1, The Twelve Chairs and High Anxiety plus all sorts of special features for under twenty dollars? At this very moment, Amazon's selling the DVD set for $18.99…and the Blu-ray set is only three bucks more but it also contains Spaceballs.

The only bad part of this collection is that it doesn't include The Producers. Then again, it also doesn't include Life Stinks or Dracula – Dead and Loving It so that's a plus. Thanks to Tony Redman for letting me know about this so I could let you know.

Today's Video Link

Can you guess the secret of The Magical Match? Don't worry. They tell you the answer before the video is over…

The Comic-Con Commute

Each year about this time, I find myself dividing my life into B.C. and A.C., which are abbreviations for Before Comic-Con and After Comic-Con. I have to get my hair cut Before Comic-Con. I'll reorganize that drawer of my filing cabinet After Comic-Con. Sleeping for an entire night — which for me is only about six hours — is moving into the A.C. category.

And I begin steeling myself for the drive. In a sense, what I like least about Comic-Con is the part of it that isn't Comic-Con: Getting prepped and packed and ready to go, plus all that time on the freeway going there, getting home, etc.

As I get older and roads get more crowded, I like driving less and less, and I put more effort into planning. When I have to go to the market — which is only five minutes away — I think (a) when can I go and hit the least amount of traffic? And (b) is there anywhere else I can stop on the way, thereby getting out of another trip I might have to make somewhere? Can I also stop at Office Depot on the way to the market and not have to drive to Office Depot tomorrow?

The problem, of course, is that the easiest time to go to the market is at 1 AM or thereabouts…and Office Depot ain't open at 1 AM. Also, when you go to the market at 1 AM, they don't have any fresh rotisserie chickens and the other shoppers all look one way or the other like George Zimmerman.

I have friends who love to drive. When I worked at Hanna-Barbera in the eighties, there were about four guys in the building named Bob Johnson. One of them, the guy who headed the accounting department, lived down in San Clemente. I don't know where exactly he was in San Clemente but I just Googled and from Richard Nixon's old place down there to where the H-B Studios were in 1980 is 73 miles.

Google says that "in current traffic," it would take one hour and 17 minutes so figure a good two hours. In rush hour periods, which is when Bob would have been making that commute, I'm guessing three. At least.

He allowed three. He got up each weekday morning in time to hit the road at 6 AM. That got him to H-B (usually) at 9:00, and he left at 5 PM to be home at 8:00…and he did this every day, five days a week. Happily. There is no job on this planet that could get me to spend six hours a day on a freeway. If someone called and said, "We've got this gig available performing sexual services on supermodels and it pays real well but it's a three-hour daily commute," I'd say, "I'd rather work at the Subway sandwiches place three blocks from here." Hell, my commute to H-B then was about a half an hour and at least two days a week, I'd opt to work at home.

But Bob loved spending six hours a day (one fourth of his life!!!) in this big Chrysler convertible he owned. Unless it was monsooning, he'd have the top and windows down with his left arm on the driver's side door. He wore short sleeves so though he was a white guy, his left arm was tanned to well beyond Negroid.

Every time I drive down to San Diego, which I increasingly don't like to do, I think about him. San Clemente is close to the halfway point for me. The whole drive is 131 miles and around Dana Point when I'm getting weary, I think, "Jeez, I haven't even gotten to San Clemente, where Bob Johnson lived and he made this drive twice a day."

Once I get to the con, okay, great. The drive was worth it. And I enjoy the con a lot until about halfway through the second Cartoon Voices panel on Sunday when I start thinking about the drive home.

I had a friend who used to commute from L.A. to San Diego each day for the con. He weighed the cost of a hotel room down there against the price of gas and decided he could spend more money on old comic books if he slept back in L.A. in his own bed. It's guys like that who make you wonder if there wasn't something to those claims that reading comics rots your mind.

CraigyFerg and Geoff

Craig Ferguson and Josh Robert Thompson are doing an event during Comic-Con at Petco Park, which is not far from the convention center. Mr. Thompson is, of course, the very clever voice of Geoff, the gay skeleton robot on Mr. Ferguson's soon-to-end late night show. The event is Thursday, July 24 and tickets go on sale at Noon this Sunday. They're charging $22 a seat. This kind of thing may become a new trend as the "industry" outside Comic-Con expands. If you're interested, here's where you go for tickets on Sunday. There's also an event there for Thrilling Adventure Hour.

Elaine Stritch, R.I.P.

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I never met her. I have no anecdotes about her that aren't available from a hundred other sources. I slept through part of the one show in which I ever saw her in person. (It was the 1994 revival of Showboat, a production that was so long, everyone came out of the theater not only humming "Old Man River" but feeling like him.)

I just liked her…as a performer, at least. A couple of folks I know who worked with her said that was the best way to know her.

There's a video of her one-woman show called Elaine Stritch at Liberty which is quite wonderful, one of those things I wish I'd seen live. She sings, of course, "The Ladies Who Lunch," which is like my least favorite number Mr. Sondheim ever wrote. But she also sings great songs and tells wonderful stories. I have known and lost certain people in my life who I think might have benefited from hearing some of those stories.

The theater does not breed Elaine Stritches anymore. No one who becomes a star on the Broadway stage seems to stay there long enough to become an aged veteran, which was the point when she got to be real interesting. It wasn't because she starred in great shows.  Julie Andrews was a star because of My Fair Lady and Camelot. Ethel Merman was a star because of Annie Get Your Gun, Gypsy and many others. Elaine Stritch was a star because she was Elaine Stritch.

The two most famous shows she did on Broadway were Pal Joey (the 1952 revival) and Company (1970) and in both cases, you could say she came on to perform one memorable song and otherwise had little to do with the rest of the play. But the point is she was there. And now, sadly, she isn't.

Today's Video Link

An hour conversation with Michael Palin…