Belinda Carlisle Does Not Have A Friend In Dorothy

C - Rochelle the Ellenburg, for keepin' it hot, keepin' it poppin', and keepin' it real throughout all regions of the Left Coast. Peace in the Middle East!
L - Arianna Huffington's apartment, where she is, in fact, rather dull.
O - Barack Obama's BlackBerry - Does he have ScarJo's number?
S - Fighting desperately for creative air as I try to expand my oeuvre and write for a change...
A - Watching a hat get stolen...
T - It ain't easy being white, it ain't easy bein' brown...

This is my 100th post. It's not much, but I'm sure it'll do for the time being. No celebration, no countdown lists... No, I'm much more of a non-traditionalist. There are several reasons why, but mostly it's because I'm sure you don't care. Pat me on the back, sure, congratulate me on continuing to whither away in the Blog-O-Sphere, if you want, but at the end of the day, you'll fall asleep soundly, not even once remembering the fond day you had a this blog, celebrating my 100th Noniversary. Trust me, it's better off this way...

Saw Juno again. I big "Hrrmmm" came out of my mouth while I watched and as I pondered it's realms of complexity. I've decided that the film's backlash is only half-deserved. Juno is a character most adults should despise. She's arrogant, self-obsessed, and exactly like we were at 16. Her hipster speak is a sad attempt at adult-talk, and it comes off as phony and forced. She lives in a musical era when she was not even a glimmer in her parents eyes, and boldly declares anything from her own time period as unbearable. Her connection with Mark isn't unlike Leah (her friends) connection with Keith, the geometry teacher: a sad attempt to age faster than we should. Basically, the point of Juno, for me now, is the notion that forcing adulthood is unbecoming. Stay a child for as long as you can get away with it. It suggests that the greatest type of immaturity is the immaturity derived from feigned maturity. An interesting character foil for Juno is Mark... Mark and Juno share a lot in common, as they both seek the same point of time in their respective time-lines, only from opposite directions. It's why it's so critical that it be Mark who bursts Juno's bubble of fun. Mark even says "I thought we wanted the same things" - Juno doesn't want the same things; she only believes that she does. Most teenager want to be adults. When you're 15, you want to be 16, so you can drive, or date or stay out later. At 16, we want to be 17 so we can see R-rated movies. At 17, we want to be 18, so we can finally declare our freedom from our teenage years. It doesn't stop. Not until we hit 21. That's when our adolescence officially ends its term in office, and we're finally able to pretty much do whatever we want. But what do we have to look forward to? Graduate school? Adulthood is alive and well, and all we want is to be a kid again. So why rush it? And that's the point of Juno. Here we have a kid, convinced of her own superiority, who is taken down a peg, and told to be a kid for 5 more years. That's all. It's not about pregnancy, or kitschy catch-phrases, or even love. It's about youth, and the dangers of getting a taste of adulthood much sooner than needed. This isn't an "End of the Innocence" film. In fact, it's a bold declaration that while innocence may be lost, it doesn't mean it can't be reborn. Juno undoubtedly grows, but this change doesn't cause her to be responsible, like taking on a secretarial position at some legal eagle office in order to save up for college. No, Juno decides to spend her summer jamming with Paulie Bleeker. Is that irresponsible? Yeah, I would say so, and I think most adults would agree, but that's no reason to hate on her. Let her be a kid for pity's sake. Let her guitar be her guide. Is it so wrong to have a film's final lesson be - "Well, adulthood sucks, so take a back seat and enjoy the ride until you actually have to drive" - I don't think it is. Different strokes for different folks...

Those are just my observations. I took a leave of absence in regards to any future viewings of this film a year ago, hence my return to discussing it. It's Oscar season again, and I've seen many folks bringing this film up, for whatever reason, mostly to throw stones in it's direction. That's fair, as jealously often bears an ugly mug, but I can't help but love this film. It's deeply flawed, but for a first time effort from a young screenwriter, it's beautifully adept at saying something most people, I don't think, didn't even want to see. Did Diablo deserve the Oscar? I dunno. I don't even remember what else was nominated, to be honest. Does it matter, you know, in the long run? The Grand Scheme of Things? --- Not a chance...

Finally, I am in awe of the folks at 30 Rock. No joke, these ladies and fezellas can really knock one out of the park on almost every pitch. I would say it's not fair, and wonder why such talent cannot be FedEx'd my way every third Sunday, but I have to remind myself: At least I get to watch it. Will I ever be able to write comedy like that? I sure hope so, but I think the 13 year long wait may prove difficult...

Cheers, my loves...