• Medium.com discovers that a “system” font is actually a pixel font called System. “And suddenly I realized I know this font. It was a font I saw on my first PC. It was 1990. That PC was running Windows 3.0. And the font was called… System.”

• Use Calibri instead of Arial for your grant application and, whaddya know, it gets rejected. (Some discussion of x-height and equivalent visual size, though not using that vocabulary.)

• TypeCon 2015 videos. (Link will eventually fail because this year’s videos are not grouped by set or tag.)

When we last read Keph Senett (no relation), she was riding roughshod over lesbian and gay economics atop the only horse in her stable, lesbian soccer. What’s she up to now? Adamantly defending the unethical practice of journalists taking money from sources. And a major freelance writers’ group implicitly backs her up.

Look first at the piece Senett wrote for (the) Story Board – the freelancer blog that causes more bafflement even than J‑Source and even for its owners, as we’ll see. Both sites don’t know what their actual job is, but certainly one of Story Board’s jobs is not to defend payola and taking money from sources.

I’ve never seen a balder and less guileful description of what that latter actually looks like than what Senett wrote about herself:

The way it works is simple. I partner with a tourism bureau or destination-management organization and they fly me somewhere and show me some things. In return, I produce and place well-written travel articles in various media.

Shorter Keph Senett: My “partner” pays me to write glowing stories. (She keeps using the words “partner” and “partnership.” It’s actually just payola.) [continue with: Keph Senett’s “problem” with money →]

Another day, another book on Gore Vidal. Jay Parini’s Empire of Self: A Life of Gore Vidal describes Vidal’s near-ignorance of AIDS well up to 2001. It quotes a “tribute” he wrote to and about his nephew Hugh Steers (emphasis added):

I am not an art critic and can pass no judgment on my half-nephew Hugh Steers’ work other than to say it very much moved me thematically, in the same way those 17th-century memento mori can set off, even today, great resonances.

But I am a professional judge of character: I think my admiration for the way Hugh conducted his life and death is well-grounded. Now that he has done with both, we should try to recall that the victims of this plague have often had splendid lives. And, certainly, they did a lot else other than die. This should never be forgotten in Hugh’s case, or in that of anyone else.

I saw that, put the book down, and slept for three hours.

• Brent Simmons: “I know that Twitter is a weapon that is often – usually, perhaps – wildly disproportionate”

• Michael Wolff: “Twitter waits for the unschooled to misspeak, then it mugs them”

John August yet again:

The screenplay format is a set of shared assumptions, not a straightjacket. If you really need to include something unusual, do it.

The word is straitjacket, and August knows better than anyone that the “unusual” something you must never ever do is use any typeface that isn’t Courier. (Remember, it’s the “screenplay format” – singular.)

Bonus Augustism

“Both Fountain and Highland support extended character sets, including emoji. Final Draft doesn’t.” I see apostrophes and quotation marks in Final Draft–produced PDFs, so August’s statement about Unicode support (not that he knows the term), is clearly false. What Final Draft doesn’t support is any font that isn’t Courier.

John August: Still completely wrong about typography. But I’m sure his cohost will back him up.

All Out is the dual autobiography of dual-nation superstar newscaster Kevin Newman and his gay ginger son Alex. I’m not sure why it exists except for the fact that Kevin Newman, as an established media celebrity of sorts, has access to editors at Canadian corporate publishing houses (here, the mighty Anne Colins at Random House Canada).

The book alternates chapters between Kevin and Alex. They claim their chapters were written in isolation from another, but that is implausible at best given the page or so of encomiums the authors reserve for their ghostwriter, Kate Fillion. (I again suggest you ask me sometime for my anecdote about her putting me in a cab up to the Tubby before it began publishing.) I don’t see how these two men wrote in isolation when their ghostwriter “conducted thousands of hours of interviews,” both facts having been attested in the same paragraph in the acknowledgements.

Kevin Newman’s chapters are a crashing bore even to someone with an interest in Canadian media. The world in general and Canada in specific and the Canadian media oligopoly in microcosm do not need this many thousands of words about the life of an itinerant daytime or overnight talk-show host. I found that a surprise, frankly. K. Newman really is a talking head.

But even more of a surprise are what I presume are the untutored reminiscences of young ginger son Alex. Despite having come of age in the 21st century, an era of genderqueers, trannies, LGBTs, and downtown progressives who [waves palm of hand vertically in front of face] “don’t see race,” Alex Newman’s story is exactly the same as most other gay boys’ stories from time immemorial. (Excerpted; reordered.)

• Scouts were a non-starter.

  At meetings I’d run off and hide; [dad would] find me and coax me back to where the other boys were all busily doing Scout-like things, and I’d burst into tears or refuse to participate….

  [A]pparently, he wanted a son who scored goals and thrived on rough-and-tumble play. Instead, he had me, an artistic kid who lived in his own imagination and panicked if a ball came anywhere near his face.

• I was the kind of kid who didn’t want to get in trouble, the kind who almost hyperventilated when someone suggested breaking a rule. The world outside seemed like a dirty, dangerous place, where your only protection lay in following the letter of the law.

• Sports were a non-starter.

  It quickly became evident that I had no athletic ability whatsoever, nor was I popular, so I was almost always the last one left. The kids on whichever team got stuck with me would groan in unison.

  Strangely, given how much I wanted to fit in, I was uninterested in addressing my athletic deficiencies. I was oversensitive and prone to taking unkind words to heart, but I had strong opinions, one of which was that sports were a joke…. I came off as one of those shy, wimpy kids who’s bad at sports. […]

  [O]ne day I came home from school to find that a basketball hoop had been installed… My dad was adjusting the net, clearly excited. I was not. I’d never had the slightest interest in basketball…. I failed to make a single basket, then never [played] again. It was like the swimming lessons, soccer, baseball, any sport you care to mention – my dad was always optimistic that he’d finally hit on the thing that would be my athletic breakthrough, and he inevitably would up disappointed and trying not to show it. […]

  Then the hoop fell into disrepair, bees built a nest in the net, and basketball was never spoken of again. However, my memory of that brief episode is crystal clear nearly 20 years later.

• Boys (even if sporty), despite being the object of his affection (even if inchoate), were a non-starter.

  1. My main strategy was avoidance: Just steer clear of boys, especially the alpha-male types. I never got the impression that my mother worried about that, though she may well have. But I knew my father did, or at least didn’t think it was normal, because he signed me up for one male-bonding opportunity after another, including father–son activities that were meant to bring the two of us closer. They didn’t.

  2. I was different in other ways, too, that seemed to provoke boys. I didn’t like roaming in a pack; I lived in my imagination rather than in the moment; I was happy to sit alone under a tree at recess, playing games with my Star Wars spaceships.

  3. Over the years, the more I was bullied, the harder I tried to avoid boys altogether.

  4. For the most part, though, despite having typical male interests – amphibians, model cars, Lego, space travel, games that involved weapons and ear-splitting sound effects – I gravitated toward the girls in our neighbourhood.

  5. It was a revelation, having a boy as a friend, because I’d reached the point of actively disliking boys, and not just because they bullied me. I hated the dirt-under-the-fingernails aspect of boys, their in-your-face aggression and yeehaw humour [sic] and the way they always seemed to take things one step too far[.]

Alex’s true story is exactly like fiction

…expressed best in An Arrow’s Flight, mentioned here many times before.

It was into this parody of domestic life that Pyrrus was born; in it he lived his formative years. If there are such years, if we aren’t pretty much formed by the time we see light. For example: If Pyrrhus wasn’t born a sissy, he certainly was one by the time his father first playfully wrestled with him, when he was two or three. He cried when real boys were supposed to laugh; he ran away from frogs and even butterflies; if you threw a ball at him he covered his face with his hands instead of trying to catch it. There are fathers who try to remedy this: “At-ten-hut! We will play catch now!” All they get is sons like Leucon, who nurse permanent grievances and still can’t catch.

Alex is now an award-winning young “creative” (n.) in the advertising industry, an overachiever, a best-little-boy-in-the-world who, by all appearances, doesn’t need an autobiography at his tender age. But, as a successful son of a successful father, Toronto decided he deserved one. By working in advertising, Alex joined the military–industrial–entertainment complex that his father works in and that facilitated the publication of a book. Alex’s unpopular days are a thing of the past.

(SMALL UPDATE: I have since seen shirtless photographs of Alex and a considerably older and taller stallion, a high-order specimen, who could reductively be called his boyfriend. For a boy who felt estranged from sports and from men, Alex sure has put in a lot of work at the gym. It’s all part of the overachiever syndrome, but I’m wondering why I didn’t see it coming.)

I hated guy talk…. The language they spoke was too limited to express certain key truths, like the fact that I worried I’d cry if someone punched me in the face, and sometimes felt sick with shame after teasing my sister and calling her names.

I see in this last paragraph the kernel of what makes gays better men, but that would be a discussion I will never have with Alex. I dropped him a line via the contact form of his Web site asking if he found it notable that his experience was immediately recognizable as nearly any young gay boy’s experience, but heard nothing back.

And there is one more surprise. Despite my lifelong fondness for gingers, up to and including retaining a mental catalogue of every gay ginger in town (I guess I’d missed one), all the present-day photographs in All Out clearly show that Kevin is the hotter Newman.

Homosexualist established screenwriter John August (q.v.) and his irrelevant second-fiddle podcast cohost discussed the heroic men who subdued Islamic terrorists on a French train.

AUGUST: [A] couple episodes ago we talked about how [whatever random event] would be a movie, and one of the things we brought up was the French train heroes… these three Americans who were on a train in France and they ended, like, taking down this guy who was shooting at the train. And they were hailed as heroes…. [W]e were really wondering… what would the second act be? How do you structure that? […]

If that big incident happened in the first act, what is the life like for those guys moving forward? And as those 15 minutes start ticking down, interesting to think about sort of what happens when this heroic person goes home and whether that becomes a factor in other things of his life. […]

IRRELEVANT SECOND-FIDDLE COHOST: I mean, if I had passed on this movie initially and then someone came back to me and said, “Well, what about now?” I’d say it’s still a pass.

— Yeah. I think it’s still a pass, too…. Obviously we’re talking about sort of a fictional movie about maybe some fictional people.

No, you’re talking about a fictional movie about real people. There’s your first problem.

But I think it was an interesting way to think about sort of what happens next, if you structured this kind of story with the big dramatic train incident happening at the start. What is the ongoing story of these three young men?

When reality does not fit Syd Field’s three-act structure, reality doesn’t get made into a movie. Bret Ellis would call this Empire thinking and would explain how and why Tarantino eats Empire’s lunch.