As a species, humans have a baffling obduracy to live wherever we darn well please on God’s green earth as long as Antarctic estates aren’t included in the realtor’s docket. From nomadic tribes to big business promulgators, we seem determined to plant our roots in every plot that fills both this planet and extraterrestrial acreage beyond–just as soon as lunar engineering is up to mass-developmental snuff. To top off our hunger for property, we play this game of land seizure with little regard for the progenitors of mythology: natural cataclysms that the cosmos allotted to each region of this planet long before we staked our mortgage claims.
In this country alone, the North bears the brunt of inhuming ice storms, the East is pummeled by hurricanes, tornadoes ramshackle the Midwest as they bypass the amicable route to Oz, the Northwest lives in the shadow of eight active volcanoes, tsunami-watch spans each coast, and here in California earthquakes reign supreme. Quite frankly, the United States is a veritable smörgåsbord of Mama Nature’s paroxysms.
In a country so tempestuous–even when we eschew the hailstorm that is bipartisan politics–finding invulnerable settlement means betting on a game of renter’s roulette. If someone ends up sowing their seeds in Tornado Alley, I understand that uprooting their entire life and relocating to milder climes when the cyclones amass is no cheap feat, but I can’t help wondering what convinced our nation’s migratory predecessors to hunker down in different disaster zones in the first place. I suppose when you contend with 23-foot long Ripper Lizards and giant sloths scrambling all over Pangea, the occasional lava flow is a small price to pay for a plot of arable land.
Personally, I took up residence in Los Angeles knowing that its toothy, clawed remnants of the Holocene epoch reside in the Page Museum and the only risky natural business I’d be facing was the fact that this be earthquake country. Besides the slight desk tremors that occasionally pique the excitement of Oregon school children, the first bona fide earthquake I ever experienced occurred at 6:30a.m. Hollywood time when our bed staged its own Evening with Fred Astaire and my boyfriend awoke with an inhuman, deep-sleep yell that aided the tectonic plates in rattling me to the core. This wake up call only reached a magnitude of 4.7 on the Richter Scale, but watching my Las Vegas memorabilia topple from the shelves and feeling the wall sway behind me was enough to instill an utter terror of bigger things to come.
And rumor has it in the scientific community that we SoCal residents ain’t seen nothing yet. Based on the geophysical research of Stanford seismologists, apocalyptic tidings of a massive earthquake hitting Los Angeles sometime in the next 30 years have swept across the internet via scientific forums and volatile comment sections alike. Expected to exceed 8.0 on the Richter Scale, this prophetically minacious tremor is fanning the already voracious flames of Godzilla-esque destruction hypotheses–that is, if his latest film depiction hadn’t been more aptly titled Hundreds of Humans and Their Tribulations, Two M.U.T.O.s, and Fleeting, Incessantly Interrupted Glimpses of Godzilla.
Some of the more imaginative voices of the online peanut gallery have taken these whisperings of catastrophic tectonics and ran with them until they’ve woven cautionary tales befitting Cormac McCarthy’s The Road. Commenting on Tech Times’ review of Ker Than’s (associate director of communications for Stanford’s School of Earth Sciences) take on the impending LA quake, one such doomsayer predicted that, “[a]fter only a few days the Los Angeles area will be like a war zone. Eventually it will become uninhabitable. Thousands will die not from the quake but from the aftermath… I have had a dream over and over of a very long mass of weary looking people walking east on the interstate up the grade toward Barstow and the refugee camps set up there by the government. When you look back to the west all one can see to the horizon is smoke rising up from what was once a modern civilization now destroyed by mother nature. It will happen. My dreams always come true.”
Whether or not this commenter was film director Roland Emmerich posting under an alias is yet to be verified.
Unfortunately for us Angelinos, the aptly denoted “Big One” bodes more substantiated probability than the portentous theories that mankind will perish at the hands of bath salt zombies. According to Ker Than’s article for Stanford News, scientists have found a way to predict a future quake’s ground movement and shaking hazards by examining the ambient seismic field, or pressure pulses generated and projected through the earth’s crust by colliding ocean waves. While these ambient waves are notably “billions of times weaker than the seismic waves generated by earthquakes,” scientists like Marine Denolle have now learned how to mathematically compare these surface measurements to the temblor waves that occur deep within the earth.
By examining these “virtual earthquakes,” scientists verified a supercomputer’s prediction from 2006 concerning the San Andreas Fault in the Carrizo Plain, northwest of Los Angeles. This prediction suggested that if said fault should rupture, the seismic waves produced by an earthquake would be “funneled toward Los Angeles along a 60-mile [sedimentary] conduit that connects the city with the San Bernardino Valley.” To make matters worse, Los Angeles is a sitting duck atop a large sedimentary basin that study coauthor Eric Dunham compared to a jiggly dollop of gelatin in the midst of a plastic foam bowl. This means that if you’re lucky enough to have set up shop in the plastic foam terrain that circumvents Los Angeles, you might not have to hold on as tight as we Gelatinites strike vogue poses in our doorways to fend off falling furniture. Other cities unfortunate enough to have been founded upon these suicidal basins of sediment include Tokyo, Seattle, and parts of the Bay area, all of which simultaneously stand on the tectonically fruitful circum-Pacific seismic belt. Home to 75% of the world’s active and dormant volcanoes and 81% of the world’s largest earthquakes, this horseshoe-shaped calamity hotbed is a natural exemplar for a sequel to Pacific Rim: Pacific Ring of Fire.
I guess the moral to this disastrously consequential story is hire some scientists to dig in your dirt before inspiring 10 million people to come inhabit your city, you technologically ill-adept Chumash, Tataviam, and Tongva tribes, Spanish explorers, and gold prospectors of yesteryear. That, or just relax all you internet harbingers of doom. For no matter how many Essential Survival Kits-in-a-Can we accrue from California Surplus Mart, Mother Nature is going to do her thing, and because we’ll be a part of that natural ebb and flow no matter where we reside, there’s little point in toiling our lives away in premature fear. After all, a major quake hasn’t occurred along the San Andreas Fault in more than 150 years, and if that’s not enough to smooth out your apprehensive gooseflesh, we still have a supposed grace period of three decades to decide whether volcano, blizzard, tornado, or hurricane territory would be a more suitable habitat for relocation.
- Doomsayer. “Dystopian Dream.” Tech Times, Comment Section, 28 Jan. 2014. Web. 24 May 2014. <http://techtimes.com/articles/2967/20140128/los-angeles-brace-yourself-for-a-bigger-earthquake-scientists-predict.html>.
- Than, Ker. “Stanford scientists use ‘virtual earthquakes’ to forecast Los Angeles quake risk.” Stanford News, 23 Jan. 2014. Web. 24 May 2014. <http://news.stanford.edu/news/2014/january/la-quake-risk-012314.html>.
- “Is it true that scientists are predicting a really big earthquake will sink western California?” How Stuff Works, 7 Feb. 2001. Web. 24 May 2014. <http://science.howstuffworks.com/nature/natural-disasters/question567.htm>.
When I was still a tiny little thing small enough to lift my weight doing every last pull-up you’d dared me to, I lived in the mountain town of Oakridge, Oregon, an equally tiny city where the only activities beyond whittling bear statues and getting pregnant included mountain recreations and mingling at the local Dairy Queen. Coming from a family that spent most of their time alfresco, secretly avoiding people, outdoor recreation proved to be the obvious choice, and merrymaking ensued around winding dirt trails, up the sides of snow-peaked mountains, to the tops of waterfalls, and down the medium-level ski slopes where six-year-old girl pile ups only got in the way of real skiers. One of our favorite hobbies was venturing to bodies of water, as if the Moon in us was trying to get back to overseeing the tide. We spent the majority of our recreational time vacationing on the Pacific, donning on water socks to trapeze our way across the crystal clear Willamette (before it cascaded down the mountains into the city sludge that comprises the Portland waterfront), doubling up on jet skis at my uncle’s houseboat to ride the wake of speed boats and inevitably flip over three times, distracting ourselves from the nude old fogies at the hot springs by squishing sulphuric mud between our toes, and spending the day paddling around Oakridge’s many reservoirs, our skin getting browner and our locks bleaching in the sun.
One of our favorite spots on the reservoir, just a few winding, cliff-side miles from town, was CT Beach, a little inlet that looked upon an enormous picturesque lake where fishermen could deposit their boats and outdoorsy families like mine could lay out a picnic and then dive in. On one such outing, my family towed in a big inflatable raft and oars from my dad’s rowing days, and we set sail against the slight chop the wind picked up across the water. A beautiful day beamed down on the Moon-Wood family as the two little daughters paddled themselves in circles, when all of a sudden my dad–like all young dads before their children hit puberty and refuse to be amused–decided to shake things up and flip the boat.
Everybody flew from the raft shrieking through mouthfuls of water, angrily splashing my dad, and groaning, “Daaaaaaaddy!!!,” but I was far from able to unleash my juvenile wrath on anyone because I was accidentally tied to the boat. Upside down, fully submerged, and struggling against the little bounds I’d gotten myself caught in, I stared down into depths I would later discover looked like a cavernous mud vortex winding down to the center of the earth (that you could hike!) when they drained the reservoir. I couldn’t see far at the time because the water here was always thick with green silt, but I could imagine the life flourishing just out of view. Looking up was no better, as I beheld summer sunlight pirouetting across the undulating surface, reminding me that I was down below, in this dark, oppressively silent world.
This story clearly has a happy ending, as young athletic dads with a penchant for peevishness also tend to be very good at saving kids from overdramatized accidents, but a life experience like that changes a girl, and soon, little water baby Emily Moon was terrified of the element that had previously brought her so much joy. But that didn’t mean I immediately holed myself away in a desert trailer, turning on faucets with my eyes closed. When you’re an older sister, your entire life revolves around maintaining a facade of bravery for the little one’s sake, even when “the little one” is twenty years old and your “bravery” is put to the test simply catching the spider she’s screaming about.
With this sense of faux strength inflating my sails, I spent the next sixteen years approaching large bodies of water with a weird amalgamation of terror and domination, eager to beat back the aquatic threat that had done me no greater harm than instilling my irrational phobia. There were times when I almost lost the battle against the big blue drink–like the numerous times the stormy Pacific waves tried to beat me into a pulp against the sand below; the time a deceptively beautiful river in Westfir began to drag my wild-eyed, fervently paddling Shoobie away in its current and my dad–ever the aquacade hero–had to dive in and rescue her; and the time my cousin Mahina tried to leap from the houseboat deck to to my uncle’s boat, undershot it, and I experienced the cinematic cliché of gripping her hands while she begged me not to let her fall into the black, nighttime river below (fortunately, everyone’s parents came running before my clammy little hands resulted in Willamette folly). But in my relentless crusade to save face, I usually win, engaging in daring stunts just to thumb my nose at fear. Included in these reckless behaviors are swimming far out from shore by myself in Kauai, to the depths reserved for surfing the combers that break over the encompassing reef; swimming for hours on end at night, off of Tybee Island, when the world is black and the fish are feeding one state up from shark-beset Floridian waters; and pausing on the shore to listen to the sound of something big and lumbering, splashing through the water only feet away on a strange southern night when the beach fog was so thick you couldn’t see six inches in front of your face. While I’m none too eager to repeat the idiotic behaviors of my past, at least I can rack up the points against my phobia, limbs still wholly intact.
I don’t make the fight against fear easy for myself though. While harboring nightmares of the deep, I’ve always been incredibly fascinated by bodies of water: researching aquatic creatures–pelagic or otherwise, exploring multicultural mythologies bent on explaining away the sea, writing numerous stories that enveloped seafaring in some way, and squirming through every episode of River Monsters I could get my hands on, too distracted by the idea that freshwater’s teeming with terrifying things like pallid, Spanish river dolphins to admire my oldest man-crush to date: extreme wrangler Jeremy Wade.
Thus, it’s a strange, masochistic love affair I’ve got going on with water. On the one hand, water has chaperoned most of my life and provided me with some of the fondest memories I can summon to this day. Sure sharks feed at night, but lying there in a black bed of oscillating seawater while staring up at an enormous white moon was one of the most serene moments of my life. And declaring Monkey Head Rock officially seized while the tide swiftly began to close in was exhilarating. On the other hand, all this risky business I conduct to prove my “might” may very well lead to me straight down to Davy Jones’ locker on the Flying Dutchman Express.
Perhaps if I can surmount this fear of mine though, that wouldn’t be such a bad thing… At least there’s always the Bill Dance bloopers my dear Greta James introduced me to to get ya rootin’ for water!
When I first started watching True Blood, it was at the recommendation of a friend while attending school in Savannah, Georgia. If the timing hadn’t been so specific, I doubt I would have been beguiled into tuning in, but living under a garnish of Spanish moss that bedecks the lantern-lit, cobblestoned deep south in a magical humid haze made watching a show about Louisiana juju irresistible. My lifelong fascination with cryptozoology didn’t hurt either.
So I watched on while sitting in friends’ freshman dorm rooms where the closest thing to a couch was a thin mattress whose springs all but emerged from the upholstery; under the covers in bed both out of fear of the lurking, bicorned monster in season 2 and to keep from waking Michelle, the first of many nightmarish college roommates; and back home in Portland (in a real bed), where I introduced the show to my sister and giddily critiqued the episodes away, Moon sister style. Soon, my eager engagement with the show morphed into an enjoyable hobby, and then into a mere outlet for expelling stress. Today, I only watch the show as an homage to the nostalgia of new beginnings in a reputably mystical city that now resides on the opposite side of the country.
But why have I steadily deviated from the crux of the show’s target market, gradually exhibiting less interest in watching at the same rate that the expanding tour bus industry is causing Savannah’s quaint charm to diminish?
The answer’s quite straightforward actually: the show went bad like milk that sours before the sell-by date in any state south of the Mason-Dixon line. Not that True Blood was ever phenomenal television with the same notoriety attributed to programs like Breaking Bad and The Wire, but after season 2’s mythological shenanigans, the quality of each season spiraled faster and faster down your standard concrete drain. Fortunately for the show’s ratings, True Blood hosts a horde of vampires, werewolves, fairies, shape-shifters, were-panthers (…?), and HBO’s signature obsession with boobs: everything Pavlov would employ to have a contemporary pop culture groupie salivating at the mouth in seconds. And although the plot has grown increasingly convoluted, one can’t deny that the show is ever lacking in excitement–even if we caustic viewers find the excitement incredibly ridiculous.
But what gets my goat is the writing. Having dated a screenwriter for the past year and a quarter (and having met nothing but screenwriters and Michael Sheen’s next assistant since moving out to L.A.), I feel just in saying that a major responsibility involved in developing a script is manifesting characters through their dialogue. In the first couple seasons of True Blood, the dialogue served just that purpose: defining the wholesome, southern belle-with-a-strange-ability archetype of Sookie Stackhouse as an entirely different character than the traumatically inured Tara Thorton–both of whom are extremely different than the endearing, distinctively idiomatic Lafayette.
As the seasons progressed, however, the action began to take precedence over the characters (possibly because the writers had all that aforementioned convolution to try and weave into coherence), and all the individual attributes that typified one personality from the next began to dissipate until, come season 6, we seem to have been left with one overarching character. And that character likes to say “fuck” in response to absolutely everything.
Somehow, this character-melding phenomenon merely spritzed the male ensemble before emptying its whole crop-dusting load on the female line up. For instance, even though their dialogue wasn’t spared from the show’s new favorite word, gargantuan wolfman Alcide is at least decipherable from backwater sheriff Andy Bellefleur, even if Alcide has diminished to nothing more than Batman-esque rasping and growling and a completely useless subplot. The ladies on the other hand are a catastrophe of incessant cursing as a means of normal conversation, perpetual reduction to tears (both of the saline and sanguine variety), and snidely defensive retorts that ooze with melodrama.
For example, the once child-like Sookie whose outcries used to involve phrases like “tits on a turtle” and “you no-account backwoods trash!,” recently replaced Grandma Adele’s polite influence with the truncated, adult argot of seasoned vampires like the ever brazen Pam De Beaufort. Even Pam, however, who didn’t have to change a smidgeon of her dialogue to fit into the “upgraded” ensemble, lost her luster when she catalyzed the next chapter in Tara’s storyline and tears and endless expletives ensued. Unfortunately, the writers didn’t stop there, combining Jessica Hamby, Luna the shifter, Nora the surprise sister, Willa the girl who clearly doesn’t curse in reality, Sarah Newlin the zealot, Nicole the activist, those masculine, huffy werewolf chicks, and almost all the other female characters into this steadily amassing, tear-strewn, “fuck”-fixated conglomerate with the most limited vocabulary I’ve seen since Stephenie Meyer books were big.
From a writer’s perspective, one of the greatest things about the art form is the ability to imagine up individualistic characters driven by backgrounds sui generis in nature and complete with their own relevant vernaculars. Even though the author’s voice will always be preeminent, designing a narrative with multiple characters creates the opportunity to personally inhabit different psyches and explore the various memories, motives, and reactions that create a versatile cast of individuals in reality.
Perhaps I’m being too harsh and ignoring the possibility that the writers puppeteering these True Blood characters are slaves to the f-word themselves and thus take their dialogue seriously, but coming from a network that brought us the linguistic poetry of shows like Boardwalk Empire, Sex and the City, and Game of Thrones, can I be blamed for expecting dialogue that transcends fuck?