Virtue Quest

You've got to love a man who loves his mother

So, as I mentioned in the comments below, I’m an economic and political ignoramus, and I’m essentially live-blogging my self-education. So, of course, Adam Smith’s classic The Wealth of Nations is on my reading list; I’m working through it now.

Now, I’ve been told that Smith isn’t quite the die-hard laissez faire 100% regulation free super-capitalist my mother warned me about. I’m advised that he’s quite a moral guy, and sees an important role for government regulation in the marketplace, but that those parts come later in the book. I’m happy to keep reading.

But there are a few major red flags popping up in the first few chapters, and I thought I’d mention them because they all have one thing in common: they put things ahead of people.

Unwarranted assumptions

Smith makes a number of assertions at the beginning of his work, (more…)

Eat, drink, and be merry!

Among the pungent foods, garlic stands out as my favorite. But onions hold a close second – especially sauteed or, still better, caramelized onions. This simple bulb hides an almost overwhelming variety of flavors that march forth in orderly fashion as it basks in low, slow heat: from bright and acrid to mild and savory to utterly buttery and ultimately to sweet in a way so different than every other sweet I’ve tasted that it’s almost a misnomer to call it sweet.

So when I was looking for a good burger the other night, I found the local restaurant Blazing Onion irresistible.

Let’s start with the virtues on display, right from walking in the door. They tell you where the beef comes from: Northwest raised, no hormones, just good local cows. They tell you what their proprietary “BOB” sauce contains: mayo, pepper sauce, spices. They even tell you that their “Butter Burger” is uber-high in cholesterol. So, they’ve got honesty down. I like that.

The staff joked around with each other and with me. They clearly know each other, like each other, and like working together. I like signs of humanity in a business.

And then there’s the creativity of the menu. Sure, they have the standard bacon cheeseburger, the requisite BBQ and bleu cheese burger. But they also have a Thai Peanut Burger with shredded cabbage and daikon radish; a Greek Burger with olive tapanade, pepperincini, and sun dried tomato; and burgers of buffalo and wild boar meat. In addition to the burgers, they have proper entrees such as salmon, sirloin steak, and fettuccine. Appetizers include a shrimp basket.

But all of this is before you even order. It was the quality of the food that convinced me to write a blog entry about this place.

I ordered their signature “BOB,” or Blazing Onion Burger. First thing I noticed was that they don’t skimp on the onions. Probably a 1:1 ration of onion to beef on that sandwich. And the onions had been sauteed to perfect butteriness. Most places that offer “grilled onions” seem to think it means heating the onions till they’re soft, and that’s good enough. Here, they clearly know what flavor they want from their onions, and they’re willing to take the time to prepare them correctly. Thank you!

Then the beef itself. One bite and I knew that they had chosen their meat with the same care with which they’d prepared their onions. There was no pink in the burger, yet the rich beef flavor emerged unscathed, which speaks of a good cow to start with and of cooks who know how not to burn it on the grill.

I don’t want to run on too long, so suffice it to say that the fries, the sauces, the French onion soup, and the couple other burger options I sampled from my friends plates (the Thai and the Greek) confirmed that Blazing Onion is more than a single trick pony.

I have only one critique: with burgers so bodacious, a toothpick or a paper wrap to hold it all together would have been helpful. But then again, I did enjoy licking my fingers when I was done, so maybe they planned that as well.

For those of you not blessed with a residence in the Puget Sound area, fear not: they’re planning to expand nationwide over the coming decade. When it does come to your area, do check it out, and see just how good virtue can be!

Eons ago, during the SuperBowl, Old Spice premiered a commercial which became an instant hit. Among the reasons, I think, is because it’s a great example of virtue. Here’s the commercial:

Virtue?

Yes, virtue. First off, it’s encouraging both men and women to strive for excellence. Men, smell like an excellent man. Here’s what the ideal is. (“Sadly, your man isn’t me. But he could smell like me…”) Strive for this. And women, hold your men accountable, accept nothing less than an excellent man.

On top of that, the humor is a humor of excellence: it’s highlighting the absurdity of its claims in the midst of claiming them: “Anything is possible when your man smells like Old Spice and not like a lady.” Obviously not – but great things are possible when you strive for excellence, for virtue. Meanwhile, there’s a joyful exuberance in the exaggeration that I can’t help but laugh at – even after watching it a dozen times or more.

Finally, there’s the artistry of the filmmaking. The commercial is all one shot, with almost no animated effects. (The diamonds were the only part edited in.) Here’s a rather long-winded interview with some of the filmmakers. It’s almost twenty minutes, but it shows the lengths they were willing to go in order to produce a truly excellent commercial. The writers had great faith in the crew, the actor showed exceptional temperance (“He was spot on for every take”) and the director had the courage to attempt such a complex piece of work.

Beautiful. Downright inspiring. Can’t help but love it.

So: go and do likewise.

The original effect

Tim Burton appears to have lost his imagination.

He’s come a long way since the joy of “Beetlejuice” and the genius of “Edward Scissorhands.” Even his adaptation of “Batman” brought an originality to the superhero movie that had been sorely lacking.

But at least since “Sleepy Hollow” his films have followed a steady trend away from character and plot and toward a desperate attempt to recreate the curlicue atmosphere of the classic “The Nightmare Before Christmas”. He hasn’t bothered coming up with interesting stories, relying instead on twisting other people’s tales to suit his vertiginous vision. He’s put Johnny Depp in all sorts of white makeup (none of which matches the beauty of Edward) and he’s papier-mached or CGI-ed trees imitating the Mandelbrot set or the Golden Ratio (depending on his mood). And he’s sacrificed some truly beautiful stories to these visual allusions to his own better work.

“Alice in Wonderland” is no exception. Naturally, he had to start by making Alice older – nineteen – in order to add a touch of sex appeal and to develop a loose and unconvincing coming-of-age story in an attempt to add depth. (As if a story about a girl falling down a mile-deep rabbit hole needed to go any deeper!) He then gives Depp some erratic antics, and his muse Helena Bonham Carter (does anyone else cast her anymore?) her standard sneer-pout-sneer-pout, and his special effects department a blank check to put as many curlicues as they can into the set dressing.

To their credit, Depp as the Mad Hatter and Mia Wasikowska as Alice turn in solid performances, almost covering over the unwarranted shifts in character and the gaping plot holes. Anne Hathaway, on the other hand, was unable to transcend the absurd role of the White Queen with humanity or believability. Or maybe it was just frustration with Burton’s demand that she keep her hands constantly in the air.

Ultimately, the film fails on the level of imagination. (And yes, this is where I make the virtue connection.) Imagination requires a freedom of mind, as well as a solid grounding in reality – neither of which Burton seems able to muster any more. The closest to reality he comes is the idea that international trade is a way to get rich. But his grasp of courtship, of the tension between social expectation and personal expression, and of the nature of authority all fail to consider the human person anything other than a plot-point to be manipulated into a special-effects sequence.

Ultimately, he has no notion of the difference between good and evil. The Red Queen is arbitrary and unpleasant. The White Queen is arbitrary and (so we’re told) pleasant. But the White Queen also brews a witch’s potion without moral qualm – though she’s made some vague vow against taking life; and she shows no virtue or reason she should merit Alice’s loyalty any more than the Red Queen. Well, except that she is albino and her body is not distended by CGI.

Mr. Burton would have done much better had he taken the time to meditate on Lewis Carroll’s works, rather than mutilating them.

The cast of "Monk"

I’ve been watching “Monk” with my family for some time, and we all gathered around the tele last night for the series finale.

For those who don’t watch much TV, the show follows Adrian Monk (played by Tony Shalhoub), a former detective for the San Francisco Police whose OCD went into overdrive when he lost his wife twelve years ago. He’s been consulting with the department, because he has an uncanny insight into what “doesn’t fit” at a crime scene. Mostly, it’s a comedy hung loosely on a detective show with the running gag of how to set off Monk’s phobias or obsessions. Sort of an anti-Columbo.

The one case he’s never solved is his own wife’s murder. So, of course, the series had to end with the solution to this cold case. As with most episodes, the actual clues and mystery-solving aspect of the story are mostly incidental. The resolution is quick and neatly resolved. It’s all about the character quirks. But it surprised me by showing a dark side of Monk’s character that I did not at all expect from a normally light entertainment.

* * * Spoilers to follow! * * *

Monk has always been haunted by his inability to solve his wife’s murder, but when he discovers the killer’s identity, he has two very dark reactions: he grows vengeful, and he implies that his OCD derives from an inability to “breathe the same air” as Trudy’s killer.

Vengeance and Justice

You knew this had to get back to virtue at some point, didn’t you?

Justice is the act of giving to each person their due. This is obviously the principle behind civil justice: I sue someone who refuses to give me what they owe me. But it’s also the case in criminal justice. In committing a crime, the criminal owes the victim what belongs to them; and, a little less obviously but just as truly, the criminal “is due” the consequences and punishment that belong to the crime.

Vengeance, on the other hand, is the simple desire to harm someone who has harmed me. It belongs to the “misery loves company” class of motivations. Vengeance says, “I have suffered, and I want that person to suffer at least as much – maybe even more!” It’s not interested in restoring order or right; just in causing hurt.

Monk’s vengeful turn

Now, throughout the series, Monk has consistently sided with justice over vengeance. But then, he’s also consistently made an exception to all reason and logic wherever his wife was concerned. Even so, in a previous episode he was not willing to kill the person who planted the bomb that killed Trudy.

So I was surprised to see him, not only asking Stottlemeyer (Ted Levine) to kill the suspect without a trial, but actually stealing a gun and apparently threatening to kill the suspect himself. I was also surprised that he had no reaction other than “emptiness” that the suspect committed suicide.

If the show was willing to go into that area of wrath and revenge, I would have hoped that they would, well, do the topic justice. Show Monk struggle with his desire for revenge, his regret that he didn’t pull the trigger himself, and so on.

I also had hoped that, having set up that Monk didn’t want to “breathe the same air” that Trudy’s killer breathed, they might have resolved that with some idea of the world being “cleaner” now. But maybe there I’m reading more into the statement than it warrants.

Character welcome

Now, I know all too well that Monk is just a fun diversion, and is not intended to be high art or profound literature. Even so, I do wish it would reach a little higher – especially in episodes where it delves into some deeper aspect of a character. Frankly, I think any show is more entertaining – more funny, more exciting, more romantic, what have you – when it reflects the fullness of human life and motivation.

Monk’s series finale left me, unfortunately, with a rather flat character whom I just didn’t believe in anymore, much less care about or identify with.

Ah well. That leaves more time for my own writing.