Fallout – Victor And Vegas Vic

The Fallout video game franchise is unique in that it re-imagines real world locations that the player character can explore – except it’s two hundred years in the future and the world has been devastated by nuclear war. Fallout 3, for instance, takes place in Washington D.C. and characters can visit the crater where the White House once stood, take the elevator to the top of the Washington Monument, and pay a visit to the Lincoln memorial (among many, many other locations and landmarks). In Fallout: New Vegas, the player character can wander down Freemont Street and head up to the heavily-fortified New Vegas Strip, guarded by a fleet of advanced security robots. One of these securitrons is unique, however – his name is victor and he’s voiced by character actor William Sadler, who you might recognize from The Shawshank Redemption, The Flash television series, and Iron Man 3.

Victor is (almost always) the second non-player-character you meet upon beginning Fallout:New Vegas. He’s waiting outside of Doc Mitchell’s house when you first enter the overworld. He has a cheeky cowboy drawl reminiscent of 1950’s western films and a unique visage. This being a ‘Mojave Desert’ and ‘Las Vegas’ themed adventure, it makes sense that Victor is modeled after a real-world Las Vegas Landmark: Vegas Vic.

Vegas Vic is synonymous with Las Vegas, even if you never knew his name. He’s featured on all types of Las Vegas apparel, posters, and shot glasses, and there’s almost always an obligatory shot of him in any film that takes place in the neon city. He’s a 40-foot-tall neon cowboy that was installed on the outside of The Pioneer Club in 1951. He was designed in 1947 in response to a request from the Las Vegas Chamber of Commerce. Vegas Vic and and his famous “howdy partner” greeting was established in hopes of drawing new visitors to the city.

The Pioneer Club no longer operates as a casino, but Vegas Vic can still be seen at 25 E Freemont Street above a souvenir shop. Pioneer Hotels still owns a gambling hall in Laughlin, Nevada, along the Colorado River. A similar sign, referred to as River Rick, can be found there.

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Mr Robot 3.1 – Undo

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“You know when you fuck something up and you wish you had the power to hit ‘undo’? Like when you say the dumbest thing in front of your biggest crush? Or when you talk shit about your boss in an email and then hit ‘reply all’ to everybody at work?”

“We all have those days.”

Such is the way episode two begins, with an upbeat INXS song (“New Sensation”) and a montage of Elliot’s new routine at E Corp. Our unreliable narrator is hopeful that he can undo the damage he’s done, undo the hack. We see the painful virtual tours and corporate training videos he has to endure at his new job – the security checks and card swipes, the idiot greasy co-worker objectifying women and the other elements of his morning routine.

The beginning of this episode is rhythmically interesting. In many ways it mimics the Aronofski cut that was established in Requiem For A Dream – shirt, pill, train, turnstile, swipe the I.D. card, hit the elevator. All fast cuts. All on repeat. And we listen to upbeat ’80s music and watch Elliot slowly chip away at the senior staff members of E Corp.

Each iteration of the routine ends with Elliot in the middle of a presentation – about cost, efficiency, and security. And each roll-coll introduction of a new “upper-middle” manager reveals a lazy, distracted, arrogant, ignorant, and unconcerned corporate shill – fiddling with their smart phones, ignoring the presentation, interrupting the presentation because they’re bored.

“I’ve got a soul-cycle class I’m late for. Let’s pick this up sometime…next quarter?”

The beginning of this episode has the stains of American Psycho all over it, right down to the ’80s music, the polished surface of corporate America, and the roiling ocean of distraction and discontent beneath the surface. At the end of each cycle, we see that Elliot has managed to remove another corrupt manager; the space-bar click sound effect machine-guns the exit of corrupt corporate leaders – the sub-prime scammers, pension embezzlers, ponzi schemers, and sexual harassers.

Until he finally gets a receptive audience who gives him what he wants: the digitization of all corporate records.

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The first act is the most important. Elliot grinds through the days until he gets what he needs in order to try and begin reversing the damage he has done. Act two finds Elliot speaking with Krista, his therapist, who later recognizes his dissociative personality and seizes an opportunity to speak directly with Mr. Robot. Little comes of the conversation; the audience watches Krista come to terms with truths that the audience is already aware of.

Copycat organizations begin masquerading as F-Society and the noose tightens around Darlene. A currency war is introduced, presenting the tired notion of an “America Versus China” conflict. Joanna, manipulative and beautiful as she is, dies at the hands of her lonely and jealous lover, leaving her blood-stained infant wailing in the back of a car. No character shows remorse, even with the presence of the crying child, and I don’t believe the audience really cares, either. The woman was something of a robot herself.

Obviously Mr. Robot is building tension and stacking pieces together; long-form narrative is chess, not checkers, slow and patient strategy, rather than impulse. But there is absolutely nothing about this episode that stands out. Elliot crazy. China bad. Crazy wife dead. Audience not surprised.

Perhaps this is an insulting analysis. Maybe this is all building toward something more. But for now, I find myself not giving a single f*** about any of these characters, what they’re doing, or the world they live in. The story is pregnant with intrigue but lacks sympathetic characters. Let’s hope something changes.

Let me know in the comments what you think. I’d be curious to know.

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Mr Robot 3.0 – Power Save Mode

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It’s difficult to tell whether or not Sam Esmail’s brainchild will be able to maintain its narrative momentum as we begin season three of Mr Robot. The “split-personality” device is a tricky tightrope walk, especially as contemporary psychology has largely debunked the concept of multiple-personality disorder. This isn’t to say that it isn’t an interesting device that can be used to great effect (think Fight Club or Primal Fear) but it can fall apart very catastrophically (think Identity or Secret Window).

But, for the time being, Mr. Robot hasn’t yet jumped the shark.

Season three has introduced new players to pump some new life into the narrative, but the story is also beginning to fold in on itself. It was clear from the beginning that Esmail hadn’t diagrammed the whole arc; the pilot itself was a grand ‘hail mary’ with wonderful, and likely surprising, success. But Mr. Robot will only last as long as the ratings do. The USA Network will continue to find ways to add new things into the mix, for as long as they can, which could easily doom the show to a fizzling-out in a style not dissimilar to Dexter, Entourage, or Lost.

When the story-teller knows how the story is going to end before the first script it authored, the architecture of the story isn’t compromised by executives and ad-dollars. Deadwood, The Sopranos, and The Wire are excellent examples – all of these ended on a high note that left audiences wanting more, rather than their stories being wrung dry, left to die on the vine, to die the death of a million weeping pinhole wounds.

The opening of season three introduces Irving(Bobby Cannavale), a Robert Goulet/Gordon Gecko mashup whose cold demeanor and self-interest begs for a gaudy pinky ring or gold bracelet. His character is interestingly convincing even while being painfully one-sided and almost clichéd. Untroubled by personal wealth, he’s introduced in a barbecue restaurant arguing with a minimum-wage cashier over the redemption of a coupon. He is modeled after other villains defined by meticulousness – Hannibal Lector, Guss Fring, Anton Chigurh. The idea, really, is to find his style laughable while also recognizing an undercurrent of profound influence and brutality.

There have been a lot of villains like this in television lately.

Irving is tasked with handling the situation between Tyrell (Martin Wallström) and Elliot(Rami Malek). If you can recall, Tyrell put a bullet in Elliot’s stomach at the conclusion of season two when Elliot tried to put a stop to his alter-ego’s machinations. Irving is the linchpin that connects our developed protagonists of the underground hacker network ‘F Society’ with the elusive underground network known as ‘The Dark Army,’ whose goals are still completely, mundanely, boringly obscure; I’m sure there will be a shocking reveal further down the line.

What interests me is Whiterose (BD Wong) and his discussion at the beginning of the episode, following a wide, sweeping shot over what we assume to be a nuclear reactor or a particle accelerator. And this is where I weep for the future of the show – the introduction includes nuclear technicians casually discussing a theory of the multiverse, it then expands to visually reveal a massive technological structure that invites comparisons to the “hadron collider” in Cern, and eventually leads to Angela Moss (Portia Doubleday) asking Elliot what he would do if everything could be changed, if everything could be erased, including what happened to their parents, and that it’s an absolute possibility.

Discussions of the multi-verse and the possibility of changing time – Mr. Robot is tinkering with some tricky subject matter that is completely divorced from a critique of capitalism, illustrations of manufactured consent, and a celebration of the meek rising up to conquer their masters.

The psychological drama takes a back seat, thematically, to the opportunity of changing or shifting reality altogether. The masters of the economic world are transforming into masters of reality itself. The unreliable narrator, Elliot, has been completely changed. The story, moving forward, can be good or it can be a disaster. And this episode doesn’t pass the smell test.

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August 13, 2017 – Antique Wagon

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“Childhood is measured out by sounds and smells and sights, before the dark hour of reason grows.”
~John Betjeman

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August 12, 2017 – Suits on the Boardwalk

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In my spare time, collecting vintage photographs, there are always a few that stand out. This one is almost a cliche – a bunch of suits with fedoras and cigarettes marching down the boardwalk like the gangsters in the opening scene of Reservoir Dogs. This photograph always pleased me, so naturally I had to share it.

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August 11, 2017 – The Vintage Chef

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“There is no love sincerer than the love of food.”
~George Bernard Shaw, Man and Superman

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August 10, 2017 – Blue Collar Dad

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“Dads are most ordinary men turned, by love, into heroes, adventurers, story-tellers, and singers of song.”

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