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Thursday, April 16, 2026
The Westphall
Voila, a Federation-style hospital shuttle, the Westphall, assigned to St. Eligius in Boston.
In an eerie coincidence, just as I opened up blogger for this post, an amnesiac patient on the episode of St. Elsewhere I'm currently watching was flipping through television channels. We hear Captain Kirk say "Space, the final frontier," and the amnesiac's channel surfing ends on the famous MTM production cat animation--a cute in-joke.
Of course, this means either that, in the expanded St. Elsewhere television universe, Star Trek exists as a television series that somehow foretells over 80 future events (counting the episodes and movies). Alternatively, the universe of St. Elsewhere has a show that duplicates our version of Star Trek's opening title sequence.
I feel like the universe has been trying to tell me something important for years.
Wednesday, April 15, 2026
Cheers to St. Elsewhere
During St. Elsewhere's season three finale, Doctors Donald Westphall, Mark Craig, and Daniel Auschlander head to Cheers for beer.
Television crossovers are an old phenomenon, still seen today, but they're reasonably rare and thus still feel special, suggesting fictional worlds larger than the restrictions of any one drama or comedy. When I first read that the Cheers/St. Elsewhere crossover existed, I wondered how the creators of the episode would balance the very different tones of the two shows.
As it turns out, and as I suppose should have been obvious, the crossover was a St. Elsewhere episode, not a Cheers episode, so drama won out. The three doctors have a pretty serious discussion at the bar, and the laughs aren't terribly uproarious. Carla Tortelli (Rhea Perlman) is as sharp-mouthed as ever as she waits on the doctors' table, calling St. Eligius a dump and crossing swords with the equally sharp-tongued Doctor Craig. Norm (George Wendt) recognizes Doctor Auschlander when he walks into the bar, and there's a brief exchange about taxes; Norm, it turns out, is the good doctor's accountant. And finally. Cliff (John Ratzenberger) drifts by the table to share some of his overblown erudition.
It all works, because the crossover feels organic. The scene is given just as much weight as it would have had there been no crossover at all; that is, if they'd gone to some other bar filled with nameless extras. If it was intended as a way to boost ratings for St. Elsewhere, the crossover was certainly handled more artistically than one might have expected.
Tuesday, April 14, 2026
It's a-Me, Earlio!
Monday, April 13, 2026
Invitation to Consider Invitation to Love
During the first season of Twin Peaks, we see several characters watching Invitation to Love, a soap opera that seems as crazed and histrionic as Twin Peaks itself can be. This gave me a thought today: If the characters in Twin Peaks watch Invitation to Love, do the characters in Invitation to Love watch Twin Peaks?
In real life, Mark Frost took the helm for the Invitation to Love sequences, all shot over the course of one day for later insertion into Twin Peaks. Reportedly, co-creator David Lynch didn't like Frost's overt parody of the soap opera genre, so the device was allowed to fade out. It's too bad; it's a nicely Shakespearean conceit, and I would have loved to see it return in, well, The Return.
Back to the meta question: The answer, for me, is yes, Jade and Montana and the others are just as enthralled with the drama of Twin Peaks as the people of Twin Peaks (the town) are with the world of Invitation to Love. The symmetry is just too perfect to ignore.
What brought this question to mind today? I stumbled across Nestflix, a website dedicated to shows-within-shows. According to Nestflix, Invitation to Love ran for 10 seasons!
Sunday, April 12, 2026
Some Feelings on Fiscus
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| Howie Mandel as Doctor Wayne Fiscus |
I've never been a fan of Howie Mandel.
That's a me problem, not a Mandel problem. His particular comic persona just isn't to my taste, accomplished as he may be.
But I must say that I really enjoy Mandel as Doctor Wayne Fiscus, St. Eligius' emergency room resident. Fiscus likes to goof around a bit, but he's affectionate, cares about patients and staff alike, and does the right thing even when it's hard. Also, he's a casual dresser, and complains righteously when he's forced to wear a suit and tie while on duty. I loathe suits and ties, so naturally I'm sympathetic to the character's plight.
I look forward to seeing where Mandel takes this character. In the almost-three seasons I've watched so far, he's already grown significantly. I hope that continues to the end of the series.
Saturday, April 11, 2026
Afternoon Visitor
Friday, April 10, 2026
A Comment about Comments
Mea culpa! I just now noticed that my filter flagged several comments from readers as potentially spam and held them for me, awaiting my moderation. A handful of these comments were indeed spam, but at least that many were legitimate some stretching back several months. My apologies to all affected--it wasn't my intention to censor you. The legit comments have been approved.
Thursday, April 09, 2026
White's Wounded Women
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| Some of St. Elsewhere's Season Three Players. Fans of Babylon 5 might recognize Stephen Furst in the middle. |
I guess you could say that Doctor Peter White's story began with some whimpering, and ended with a bang. A couple of days ago, I wrote about my amazement regarding the character's dark turn, and how I wondered how the writers could possibly bring him back for a third season.
They found a way. White is a deeply troubling foil for the first third of the season, shoving his verdict of innocence in the faces of his colleagues while continuing to brazenly rape women--including a second attack on one of his prior victims, who winds up deeply psychologically damaged on top of her physical trauma (and little wonder).
Having White parading around St. Eligius as if he wasn't a violent rapist gets to be too much for Nurse Shirley Daniels (Ellen Bry), who steals a weapon from a police officer in the ER, hunts white down, and shoots him. White survives for a couple of hours, but ties before he can name is killer. It doesn't matter, because while it took forever for the police to arrest White for his crimes, poor Nurse Daniels is caught within hours. Hmmmm.
The whole arc has, thus far, shone a lot of light--maybe accidentally, maybe not--on how women are treated at home, in the workplace, and in fiction. Wendy Armstrong (Kim Miyori) lasted only a season and a half on St. Elsewhere, and I can only think of one episode in which she was the focus and got a win--a "win" defined as a moment of respect from the male doctors. Even worse, Cathy Martin (Barbara Whinnery) was written from the beginning as a flighty, promiscuous eccentric--part of the reason her testimony is dismissed by the jury. The show neglected Armstrong and killed her off--without much real buildup or even proper connection to her frustration with White's trial or her assault. It just felt like the writers didn't know what to do with her. But Martin fares even worse, treated as comic relief for most of her appearances, then as a victim--twice--and then to madness. (She might recover; I haven't watched the whole series yet.) And the formerly level-headed Nurse Daniels becomes erratic enough to take revenge on White, resorting to a murder that she surely knows she can't get away with. She also confesses to a crush on Doctor Jack Morrison (David Morse), without any hint of having those feelings in previous episodes. One of the episodes I watched tonight culimates with Nurse Daniels being captured by the police, so I assume that she'll be written out shortly, as well.
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| David Morse as Doctor Jack Morrison |
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| Eric Laneuville as Luther Hawkins. |
To be fair to Jack, in the last episode I watched tonight, "Sweet Dreams," it appears as though Jack does indeed have doubts. Jack, Dr. Victor Ehrlich (Ed Begley Jr.), and orderly Luther Hawkins (Eric Laneuville) are all involved in a dream study. Ehrlich, true to his character, dreams of being stranded on a tropical island with beautiful warrior women who sentence him to death by, er, snu-snu. Hawkins' dream is a wonderful spoof of the ZZ Top music video for "Legs," complete with the music track, several members of the cast dressed as the band and sexy models, and the ZZ Top roadster famous from the video.
Jack, on the other hand, has a terrible nightmare about Peter White. Only in the dream do Jack's doubts materialize, and though he asks "Who killed you?" (White says "That's classified"), he does not ask "Did you do it?"
But he doesn't need to, because the dream shows that he knows the answer is "yes" and hasn't been able to accept it. White bids Jack farewell, then puts on his ski mask and laughs manically, mocking Jack for his unearned trust. It's a very chilling sequence, and redeems Jack a tiny bit. I hope he apologizes to the women he dismissed.
Wednesday, April 08, 2026
Tuesday, April 07, 2026
Doctor Peter White's Heel Turn
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| Terence Knox as Doctor Peter White |
Last month I finally started watching St. Elsewhere, the groundbreaking 1980s medical drama. I just finished season two, and I find myself astounded by Doctor Peter White's insanely dark heel turn about halfway through the season.
Up to this point, White had been portrayed as a troubled resident beset with marital and money problems--issues that sometimes caused mildly jerk-ish behaviour, but nothing truly outlandish. Indeed, most of the residents on the show had similar or comparable personality quirks. But some well-meaning actions on White's part backfire on him, leading to his censure and putting his residency at risk. This leads to some addiction problems, which, to his credit, he overcomes, and becomes a better doctor to boot.
Then, despite this rebound, he puts on a ski mask and rapes several women and attempts to rape one of the other residents. Caught red-handed in this last assault, White is arrested and put on trial. (His amusingly sleazy defence lawyer is played by Conrad Janis, who I remember as Mindy's dad from Mork & Mindy.) Amazingly, he's acquitted, despite testimony from his victims--two of whom are colleagues and fellow doctors at the hospital. And as an innocent man, he can't be prevented from returning to work at St. Eligius (AKA St. Elsewhere). One of the victims who testified commits suicide at the end of the season, and while--somewhat strangely--White's return to work isn't stated as one of the reasons for her suicide, it surely must have played a role. Considering the crucial role women play on this show, I feel like this was a deliberate choice by the writers--even the most accomplished women in crucial positions remain devalued in comparison to their male colleagues.
I thought for sure this would be the end of White as a character, and that he'd be written off the show. But according to Wikipedia, Knox as White remains part of the main cast through season three, and even returns as a guest in season five. At this point it would be impossible to redeem White, so I imagine he'll act as a villainous foil for the other characters in season three. I did not expect this show to take such a starkly dark turn.
Monday, April 06, 2026
DC Boardwalk
Bounce ball on boardwalk
Grab jack
Second ground, grab two
And so on
Bonus points: ball colour
Perfectly matches wall colour
Ghosts peer through obsidian panes
Nails squeaking against glass
But the kids don't hear
They've reached tensies
And Harpreet has one chance to win
She scoops--she scores.
Time for ice cream--the wall inspires Neapolitan
"We're all out of chocolate strawberry vanilla ice cream"
Sunday, April 05, 2026
Muddied Metaphors
Sometimes there's mud in the water
In poetry as in life
Green needs brown
Words need structure
But sometimes those structures fall apart and you get a horrible mess but hey
There's still life in it
Saturday, April 04, 2026
Hail Sean!
Happy Birthday, Sean, with many more to come! Your presents are, er...late. But coming!
Friday, April 03, 2026
Pope Hat
♝
I accidentally discovered I can insert special characters into my blog posts. This sentence follows a pope hat.
Pope hat
Pope hat
Roly poly pope hat
Pope hat pope hat
Eat them up, yum
Thursday, April 02, 2026
Salem's Lot Boo Boo
Alas, sometime during the editing process, someone--more likely, multiple people--missed adding the name of Bonnie Bedelia's character to the cast list. For the record, Bedelia played the ill-fated Susan Norton.
Wednesday, April 01, 2026
Gemini-Generated Paranoid Productions Logos
Some of these are fun, but most are kind of meh. A lot of them look like triangles because the original logo, created by Jeff Shyluk, was a pyramid with an eye near the apex, and I told Gemini that in the prompts. The wordmarks aren't bad, but look too much like the CBS logo. The pyramid with the shadow might be my favourite conceptually, but it feels like an awkward shape for most real-world purposes. Pyramid eyeball sunrise might have promise if reworked.
Again, as a starting point? Maybe. Not ready for prime time, though.
Tuesday, March 31, 2026
Gemini Generated Earliad Banners
A few weeks ago, I asked Gemini to generate some banners for the blog. I hate to admit that I kind of like these, but I'm not going to use them, not unless I pay a real artist to use these strictly as a "this is the sort of thing I'm looking for" sample. I think there might be a place to use generative AI as inspiration as long as we keep supporting human artists.
Monday, March 30, 2026
What a Time to Be Alive
That one prophetic conversation
I can't shake it from my mind
1992 or 1993
After the fall of the wall; the end of history
"What if this is as good as it ever gets?"
Maybe it was
Maybe the real end of history is chasing us now
Like a comet diving in from the Oort cloud
We see it coming
We can't stop it
And that's it--
Lights out forever
Sunday, March 29, 2026
Reddit Glimpses Cranberry Portage
I came upon this post on r/1980s on Reddit just now, and I thought "Wow, this looks just like Grandma's place did in the 1980s. Hey...that looks like Mom and Dad's green Ford station wagon. And that looks like an Alberta plate. HEY...wait a minute..."
I searched my own blog for the keywords "Cranberry Portage," and here's the source of the Reddit photo.
Pilfered from my own blog! But I'm not angry. How many images have I used from the web? Plenty. I think this is kind of neat.
Saturday, March 28, 2026
Threads
Black threads under our collective skin
Spreading insidiously through our careless flesh
Threads of envy; greed; hate
We live in one skin
Though we are billions
But the infection spreads
We are close
To being overwhelmed
Awakening sluggisly
Too slowly
Too late
Friday, March 27, 2026
A Few Thoughts on Manhattan Transfer
What you see is what you get: As seen on the cover, aliens pop a bubble around Manhattan Island, rip it out of the Hudson River, and put the whole borough inside their giant starship, on an interior plain with what appear to be dozens of other similarly kidnapped species--but these are cities from other worlds.
The likeable protagonists spend a good deal of time exploring the mystery of their new situation: Why would aliens steal a city? Are they in a zoo? Are they going to be used as food? How will they meet their needs? Can they make contact with the aliens?
The New Yorkers turn out to be pretty resilient in the face of all this, though there is some initial looting and panic at the start of the crisis. Once the alien kidnappers provide food, water, and maintain their oxygen supply, things calm down and a group of about a half-dozen motivated folks work with the mayor to explore the other kidnapped cities and see if there's a way to force the aliens to take them back to Earth.
John E. Stith approaches his plot and characters with care, attention to detail, empathy, and prose style well-suited to a steadily-paced adventure. I found myself easily invested in the characters and their quest to get some answers, and the second half of the novel becomes quite exciting as they discover their real predicament and wind up playing for much, much higher stakes.
I wasn't expecting much from this novel, thanks to the novel's name and the cover art. I'd also never heard of the author, though now I know he was nominated for a Nebula! (Ignorance, thy name is Earl.) I don't think my low expectations should prejudice my view of the novel; I think it's genuinely good. Even the science is reasonably plausible, given the ideas set out in the story. Certainly issues with inertia and the speed of light are hand-waved away, but that's common for the genre; what's important is Stith makes everything believeable.
I wonder what kind of conversations this stirred up in the 1990s, when I'm sure at least a few New Yorkers were reading this on the subway.
Thursday, March 26, 2026
Hope at the Ridge
Wednesday, March 25, 2026
Three Soldiers
Tuesday, March 24, 2026
Invisible Movie Star
I fed Gemini a decade-old photo of me at the Edmonton Film Festival and asked it to "have this man surprised by a movie star." I guess the star was Claude Rains, or maybe Kevin Bacon.
Monday, March 23, 2026
Starro v. Titano: Dawn of Injustice
Sunday, March 22, 2026
Vernal Geekquinox 2026: Dem Bones, Dem Tasty Bones
The lamb lollipops were so delicious that I forgot to take a photo before they'd all been scarfed down--thanks to Stephen for this photo! Moist, juicy, tender--I don't have lamb often, but wow, these were scrumptious. They certainly put a SHEEPISH GRIN on my face!
The next course consisted of braised lamb shanks served on a bed of rice. The sauce...oh, the sauce...the meat and the rice were excellent, too, of a quality far better than, I dare say, most restaurants.
Here's our dapper chef in his skeleton-themed shirt, alongside a couple of the cocktail recipes. I'm not a drinker, but apparently at least one of them was "face-numbing."
Ellen took this shot of us, which means she's not in it! Still a fun photo that captures the feeling of the day.
We took a break between courses to marvel at Pete and Ellen's just-completed library. It's utterly gorgeous, and really makes me want to do something similar in my (much smaller) space.
Unfortunately, family matters called us away early, so we missed the steak and the duck. But we did share a piece of this amazing homemade dinosaur dig cake. Needless to say, we dug it, bones and all.
For better photos and a more comprehensive writeup, including the dishes we missed, see Steve's story of the event!
Saturday, March 21, 2026
Bird vs. Sean
Friday, March 20, 2026
Series Assimilation Misstep
Episode Five, "Series Acclimation Mil"
I've had more than enough time to reflect on "Series Acclimation Mil," the first episode of Starfleet Academy focused on the school's sole holographic cadet, for whom this episode is named. (Everyone just calls her "Sam.") And while I wanted to love this episode, it demonstrates that good intentions alone cannot deliver a satisfying dramatic experience.
In this episode, Sam hears the legend of Captain Benjamin Sisko. She decides that because Sisko was known as "the Emissary" by the Bajorans, and she, Sam, is an emissary of her people to humanity, she should investigate the final fate of Captain Sisko as a project for school. It's a pretty tenuous connection, and not a great beginning. Worse, the episode feels strangely bifurcated between Academy carousing shenanigans and Sam's research. There are also some bold directorial and editing choices that feel a bit too wacky for an episode with some pretty serious themes--loss, grief, and most importantly, perhaps, ambiguity.
In the real world, Avery Brooks, who had played Captain Sisko in Star Trek: Deep Space Nine, retired not long after the series concluded. At the end of that series, Sisko jumped into a pit of fire and "joined the prophets" in the Bajoran wormhole. But before leaving what the wormhole aliens call "linear time" forever, Sisko promised his wife and son that he would return--a line added at the actor's insistence, because he did not want to contribute to the racial stereotype of a black father abandoning his family.
That left the character's fate in limbo; to this day, we haven't learned whether or not Sisko kept his promise. That was the actor's intent, but apparently the showrunners wanted a clearer ending, one indicating that Sisko had made the ultimate sacrifice for Bajor.
So here we are, thirty years later in our time, almost a thousand years later along the fictional Star Trek timeline. If you're going to tackle a story point that has been festering for decades, you'd better know what you're doing and have some kind of satisfying catharsis, one way or another.
Unfortunately, the episode plays it safe, leaves things ambiguous, and in doing so compounds the downsides of the original story choices. There are some nice moments in the episode to be sure, including Tawny Newsome in a guest starring role and the return of Cirroc Lofton as Jake Siskso. But the themes here were too large and too complex for these particular writers to handle. They did their best, but some stories are best left alone.
Thursday, March 19, 2026
Putting My Stamp on Stamps
Wednesday, March 18, 2026
Burger Barons
Tuesday, March 17, 2026
SCTV and Me
Because you never know how long any given show will be available these days, I immediately started watching SCTV on Prime from the beginning to try to capture all the episodes I missed back in the 70s and 80s and to revisit any I remembered. It turns out that out of the entire first and second seasons--as far as I've gotten--I remember only the fifth and 26th episodes of the first season, so much of the comedy is new to me thus far--quite a delight.
The show is as silly as I remember, but also much sharper, with social commentary, double entendres, and pop culture references that went over my head as an adolescent.
My favourite sketch from the first season is "Crossword" from episode four. I was astounded when the opening credits included Sir Ralph Richardson and Sir John Gielgud, two incredibly gifted and respected British stars of stage and screen. I figured this was a gag--including these legends alongside Dave Thomas, Eugene Levy, John Candy, Catherine O'Hara, Andrea Martin, Joe Flaherty, and Harold Ramis--virtually unknown, comparatively, especially in the mid-1970s. But sure enough, the two knights show up in a sketch called, "Crosswords," in which they're cast in a Harold Pinter play and exchange dry, mundane dialogue about which landmarks they should visit and how to solve the crossword clues. It's a strange skit, capturing the weird feeling of Pinter plays perfectly, and the two gentlemen are hilarious in the most deadpan manner possible. I'd love to know what circumstances made this bit of television history possible.
It's also neat to see the loose narrative of the fictional SCTV evolve during the first two seasons; the skits are held together with the various goings-on at the station itself, and it amuses me to no end that Harold Ramis' departure as Moe Green, station manager, is covered by a kidnapping; the station is too cheap to pay the $2000 ransom, and Moe Green is never seen again on the show. Grim!
As with any sketch show, some bits are funnier than others, but the actors really give every scene their all, and the cheap production values bring their own charm, putting the show's success almost entirely in the hands of the writers and comedians.
I already remember why I loved this show, and it's a real treat to finally see the many episodes I missed. Looking forward to seasons three to six!
Monday, March 16, 2026
Sylvia on Gilligan's Island
I have a strong feeling that with Sylvia on the island, it would not have taken them fifteen years to get back to civilization.
Sunday, March 15, 2026
Oscar Fail 2026
Saturday, March 14, 2026
Friday, March 13, 2026
Facebook Art 'Twere It Done by Great Masters
As you can see here, Jeff and Andrea also contributed.
I asked Gemini to "reinterpret these works as if they were oil paintings created by great masters."
The results:
Thursday, March 12, 2026
Wednesday, March 11, 2026
The Bottomless Well of Human Desire
Lenore and Henry are moving up in Victorian society. Henry is nouveau riche, a manufacturer of cutlery, and he's married a high-born but penniless wife. The match means class elevation for Henry and security for Lenore. Oh, there's love, too, at first, but after Lenore miscarries and becomes infertile, the relationship cools. The terrible secret they share doesn't help--and there's worse mayhem ahead, as they soon discover when they rescue the mysterious Carmilla from a carriage crash on the way to their new estate . . .
Hungerstone (Kat Green, 2025), is a story about desire and agency, which takes Joseph Sheridan Le Fanu's lesbian vampire novella Carmilla as inspiration. In both stories, a young woman (Laura in the original, Lenore in Hungerstone) dreams of another woman about her age coming to her at night and biting her. Later, both heroines meet this mysterious figure--Carmilla--in the flesh, rescuing her from a carriage crash. Carmilla insinuates herself into Lenore's life; partly to sate her own desires, but much more importantly to help Lenore understand that she, too, has desires, and that she should be honest with herself and pursue them. Carmilla and Henry do not get along, and Carmilla, in word and deed, does what she can to encourage Lenore to reclaim her agency. It's not just a matter of getting out from under her husband's thumb--it's about survival itself.
Lenore's backstory is presented via her thoughts as she navigates her new reality. Thanks to Carmilla, Lenore is forced to reflect on her past to discover the reasons why she gave up hope of happiness from a young age, and why she allowed herself to enter an unfulfilling, even dangerous, relationship with Henry. Moreover, without Carmilla's aid, Lenore may not have discovered the forces being drawn up against her until it was too late . . .
For the fourth time this month, I've read stories by women about women who reclaim their agency to empower themselves and protect themselves from men. Of these, Hungerstone might be my favourite. Rich in allusion and metaphor, the novel first emulates and then inverts Carmilla's original story to present a subversive, well-earned happy ending Le Fanu may have appreciated but could not possibly have depicted in his era. Hungerstone also works as a horror novel; it's gloomy, with a pervasive sense of dread, the occasional outbreak of horrific violence, and some very weird scenes of pica--perhaps unsurprising in a novel about desire, hunger, want, and cravings--all the same thing, are they not? There's even a lovely little scene with a real hunger stone.
Tuesday, March 10, 2026
Sean's Animated Rage Meter
Monday, March 09, 2026
Annie Botherations
Naturally. That's how she's programmed; she's a sexbot designed just for him. She's beautiful, has a closet full of outfits like a Barbie doll, and Doug can have technicians adjust her weight or breast size on a whim. He can--and does--use verbal commands to adjust her libido. A neat freak, he gets annoyed because Annie, in the beginning, doesn't do any housecleaning. That's not what she's designed for--there are housekeeping and nanny model, but Annie is a "Cuddle Bunny" and is supposed to be focused on lovemaking and looking pretty. Nonetheless, Annie can measure Doug's displeasure in real time on a one-to-ten scale, and she becomes anxious whenever his displeasure registers. So she dutifully adds cleaning to her routine, becoming absolutely obsessive about it.
For most of the narrative, Annie insists to herself and others that Doug is a wonderful owner, an opinion reinforced by side characters like Doug's best friend and the company that made Annie and hundreds--thousands--of other robots.
As the novel progresses, Annie's sapience and understanding grow. She's essentially tricked into having sex with Doug's best friend, and allowing herself to be pressured into it becomes a source of guilt and shame. Eventually the secret comes out, and Doug responds by ordering her to turn her libido up to ten and locks her in a closet for a week. It's torture--not just the confinement, but Doug's anger, Annie's guilt, and her inability to turn her libido down or to reach orgasm. It's a deeply disturbing scene, and it's the crux point that sets Annie on a path to true awakening and self-determination.
It's not the first or last time Doug abuses Annie, but it is the most horrifying. Doug's action reads like a form of rape, even though he doesn't touch her. It's harrowing. Greer doesn't belabour the details of Annie's ordeal, but her prose makes it clear that this is a violation of the highest order, made worse because of Annie's innocence and naivete.
Because we see Doug only through Annie's thoughts, it's a challenge to get a full read of his character--at first. At times, he seems to genuinely care about Annie as more than a machine, but then he betrays her in ways large and small. He always has his reasons, but we can infer they arise from self-loathing, capriciousness, and shame, but also from sadism, rage, and a need to exercise control in every aspect of his life. The torture scene makes it clear that Doug is the novel's antagonist.
Like many abusers, Doug attempts to excuse his actions even as he asks forgiveness for them. Because of her programming, Annie is particularly vulnerable to this form of manipulation, making the novel an extremely uncomfortable read. Doug even buys another robot, ostensibly an "Abigail," or cleaning model, but Doug has sex with her too, and it's clear it's partially to punish Annie. But when Annie plans an escape, she's surprised that the Abigail--named Delta--wants to come with her. In just a few words, it's clear that Delta, too, has her reasons for wanting to leave Doug's orbit.
Annie and Delta seek help from one of the technicians at Stella-Handy, the corporation that makes the robots, but Doug, of course, has a tracker in Annie, and she's recaptured. Doug professes regret for driving Annie away, sends Delta back to Stella-Handy, and tries to reform. And indeed, from what Annie relates to the reader, he does seem like he's making an effort to be better. He turns off the tracker, and gives Annie a series of commands to give her ultimate agency. He claims he wants her to want him without being forced to. He probably even believes it.
Annie's reaction--shared internally with us, the reader, not with Doug--he can't be trusted with it--is a fierce FU to Doug's offer. Had Doug treated her with empathy and kindness from the beginning, I'm sure Annie would have stayed with Doug. But his actions through their three years or so of living together make that utterly impossible. Annie frees herself, and while it may have been Doug's last programming commands that unlocked the final door, it's important to note that Annie's drive for self-determination and her stubborn refusal to give up the core aspects of her developing personality brought the couple to this inflection point. Doug thought he could control her without the shackles of her programming. But he's wrong, and I revelled in Annie's victory, expressed in silent fury accompanied by decisive action.
It's plain to see that Annie Bot is a metaphor for the difficult and uneven relationships between men and women. It's a compelling, uncomfortable read--the kind of novel more men should tackle. I can still see a bit of myself in Doug, and that haunts me.
Sunday, March 08, 2026
Earl's 2026 Oscar Predictions
Here's how I rank the ten Best Picture nominees, starting at the bottom and working my way up:
- F1: Beautiful score and visuals, painfully predictable story
- Frankenstein: Incredible makeup and costumes, but adds nothing new to the myth
- The Secret Agent: Love the surreal bits and the cinematography, the rest feels fairly rote
- Marty Supreme: Competently told but predictable
- Hamnet: Beautiful production design and a powerful, transcendent finale
- Train Dreams: Just lovely start to finish
- Sinners: Bold, exciting, scary, a powerful metaphor for the Black experience
- Sentimental Value: Engaging, with heart-rending performances
- Bugonia: Superb acting, suspenseful, with Yorgos' trademark surreality
- One Battle after Another: Captures the chaos of the world we're enduring right now







































