Confronting the Sphynx

As I am about to enter this screenplay-writing competition, and, as I’m expecting to lose, it’s got me thinking a lot about the process of trying to get accepted for my writing. My screenplay will likely get passed over because it doesn’t follow the five-act structure, and there’s even more reasons that I don’t know about because there are loads of books on how to write a screenplay, none of which I’ve read. With my novels, I know that there are several technical reasons my queries are getting rejected, despite the fact that, when people read them, they really like them, as is evidenced in my modest number of Amazon and Goodreads reviews (except for that one guy on Goodreads who gave me a mysterious 1-star, as well as that 1-star guy on Amazon who really hated what I wrote).

If there are people so strictly enforcing quality control for the written word, then why is there so much garbage out there? I don’t mean like Two and a Half Men, which was a terrible show but popular enough to last for around ten seasons. I mean the cancelled-after-half-of-a-season kind of shows. The ones that are not well-plotted and lack any memorable or likeable characters and doesn’t connect with an audience, but they still impressed someone enough to hire directors, producers, actors, special effects, and various crews. I’m talking about the dreary, repetitive, badly written books that have made it through an agent, a publisher, and an editor. The first ten pages are what sells your books, so these bad writers must have amazing first ten pages because the rest is just horrible. They’re awful works of entertainment, but they knew the right code words to make it past the gatekeepers. I feel like, if I could figure out how to do the steps precisely, I might have a chance. That means I have to learn the steps intimately, and I don’t really have the patience for that. That’s not why I write.

What does that mean for me? I can’t afford to buy slick covers anymore, so no more self-publishing. Even though she ghosted me, the agent I talked to in April made me think I had at least one book worthy of sending out, and I might get to that later this year. But mostly, I’m going to write. When a contest like this comes up, I’m going to enter, not because I’m expecting to win, but because the challenge of it will appeal to me. Who knows, maybe I’ll do the right dance move and get in the door someday. If I don’t, I’ll keep writing because it gives me joy in a difficult world.

They’ll Be There for You

This is where I admit something weird about myself.

Have you ever been reading a book or watching a TV show or movie, or maybe watching a video essay on your favorite topic or hobby, and you think of the one you’re watching as a friend? I don’t mean they’re speaking to you or anything, but you know them so well, especially in the case of books, where you really get into their head. The extreme of this comes in the form of the Team Edward vs. Team Jacob thing a few years back. It’s all the young people who wanted to date Loki, despite the fact that he’s, you know, evil. And lest you think I’m making this a young girl problem, witness the “Not my Doctor” people, predominantly men, who seem to think that the Doctor is a person, not a work of pretend created by a series of writers going back sixty years. One thing that often happens with internet stars is that people leave them cruel, teasing comments that would appropriate for close friends ribbing each other at a coffee shop, but not with a perfect stranger, all because they feel that stranger would get the joke.

If you have felt a connection with a fictional character or online personality, you don’t have to admit it. It’s a common enough occurrence that I know that some of you reading it have gone through it, and it even has a name: parasocial relationships. Literally, it means one-way relationships because the one you’re connecting to can’t share that connection with you. Parasocial relationships are actually quite healthy (unless you’re going to extremes about it, like threatening an actor who plays a particularly despicable character). They develop strong senses of empathy, and those who have these relationships tend to be better friends overall. We spend as much time, if not more, with these made-up people than we do with most real people, so if you’re going to build up a connection at all, it makes sense to form one with this presence in your life.

So you’re wondering where I’m going to confess the weird thing. Have I fallen deeply in love with middle-aged Punky Brewster? Do I think that Addie Larue in the novel I’m reading is the only one who could really get me? Is there someone online I recently propositioned after watching all her videos? Not quite. You may not realize this, but I’m a writer (I know! Shock! It’s almost as if it’s not, like, the only thing I ever talk about!), and as a writer, I create characters. You see where I’m going with this. It takes me about two months to write a novel, and in that two months, I live with these characters. I think about them when I wake up in the morning, when I’m cooking, cleaning, going on long walks, and when I go to bed at night. I infuse them with the traits of people I know and of myself, and I see the world from their point of view, finding the good in anything they do (even the bad guys because nobody sees themselves as the bad guys). For two months, these guys are my life, and then they’re gone. This wasn’t as much of a problem when I was writing a series because I could always return to them. When I wrote the On the Hedge series, I wrote them one after another, for almost a year and a half (those books are much longer than anything I have written since, so they took closer to three, three-and-a-half months a piece to write), and I never had to leave the characters behind. But now that I’m writing one-and-done novels predominantly, they’re gone for good.

It’s weird how much I love these guys because they’re not real. I have made them up. They don’t do anything I don’t tell them to do (even if I do go with the flow and try to let the story tell itself). I should not think of them as real people. Even as friends, they’re a camp friend at the most, one who doesn’t write you after they go home. But I still miss them and even mourn them a little when they’re gone. I wonder if this can even be classified as a parasocial relationship because these lives belong entirely to my whim.

I don’t know if I’m the only writer who feels this way. I can’t be. In a world where I can’t see my friends, these are the relationships I can turn to. I don’t know if this makes me maladjusted or just plain sad, but it’s my life right now. I just finished a novel, and I’m kind of bummed out. Let’s see who I meet with the next one.

Bleak Production

I saw this TV show years ago, I can’t even remember what it’s called. It only lasted one season, and I think that was by design—the story had wrapped up quite neatly. The only thing I recall about it was the star, James Badge Dale, and the fact that it completely realigned my philosophy about the country, and it may have killed my sense of hope.

The plot of the show is simple: an intelligence contractor uncovers a conspiracy, including members of our government and several corporations. As he unravels the plot, lives are destroyed, betrayed, or ended, and he nearly loses everything, but he keeps going, because the truth is what’s important. In the finale, the conspiracy unfolds exactly as it’s supposed to, and the world is forever changed. The hero confronts his boss, who was in on it, and tells him he has the proof. He’ll tell the world. And his boss asks him if he thinks anyone would care. If the hero somehow convinced media outlets to run the story, what would change?

This resonated deeply within me because I witnessed the NSA get caught spying on American citizens under the tutelage of the Bush Administration, and no one cared. Sure there were those of us who do tend to care about this kind of thing, but to the general public, it was a non-issue. The Constitution was aggressively, flagrantly violated, and it was no big deal. No one lost their job over it. I don’t even recall the program being shut down.

This was one thing I witnessed. The American public, at large, didn’t care as our rights were struck down, those in power abused it unapologetically. This came to a head during the Trump Administration when the president and those working for him didn’t give a fuck. They behaved badly, they behaved incompetently, and the American public didn’t care. Most voters, when asked about Trump’s first impeachment, couldn’t figure out what the big deal was (the big deal was, he broke the law by offering a foreign country military aid if they helped him win an election). Yes, we elected Joe Biden, but 70 million people voted for Donald Trump, and not all of them were Qanon.

Right now we have people like Jeff Bezos actively and fundamentally screwing over his workers and the whole country in general, and simply consolidating all the money, and it’s well documented, and it’s no big deal. We still have children in cages at the border, and America is all, meh. What’s it going to take for people to get mad? What’s it going to take for something to change?

I may not remember the name of the show, but I can close my eyes and vividly picture the final scene, on top of the building where the main character worked, as the hero and his boss looked into the sunset, and his boss said those devastating words to him. I remember my stomach going cold and realizing, God help us, he’s right.

Pros and Conflict

Despite all of the press being focused on Zack Snyder’s Justice League, the fact is, Marvel is the dominant force in the entertainment industry, as they just proved with WandaVision. Some people (I can name several Facebook friends off the top of my head) absolutely loathe them. Some people can take them or leave them. Me, I love them. I’ve seen all 247 of them in the theater, and I will gladly shell out the $20.00 rental price on future movies until this whole pandemic is behind us, and I feel like going back into a theater. But, I don’t know if this is a result of me growing up or just me seeing something a lot and getting tired of it, I’m starting to get kind of bored with the usual conflict resolution in these movies.  

The whole point of a superhero fight is the annihilation of your opponent through violence. Even in Captain America: Winter Soldier, when Cap defeats his brainwashed best friend by refusing to fight and telling him he loved him, there was still a pretty huge battle scene before he took the path of peace. In The Avengers, Iron Man saves the world by sacrificing himself, but not before a full half-hour of the Avengers slaughtering aliens by the dozens. Avengers Endgame also involves a sacrifice by Iron Man, but not before every superhero in the world murders every alien in the galaxy. In WandaVision, a show about how to process grief and loss that ends in the heroine giving up that which she wanted most, the run-up to this is two witches throwing magical laser blasts at each other and two androids throwing each other through walls.  

I suppose I can get behind fights, as long as they end in non-violence of some sort, but what kind of world do we live in when the winner of moral battles is the one who can punch harder? That’s why I hated Zack Snyder’s Superman movies so much—Superman is an aspirational figure of hope, but he breaks a guy’s neck in Man of Steel to save the day. What is the point of taking a man we’ve been raised to believe uses his powers to help people and making him murder someone with his bare hands.  

I suppose I’m as guilty of this as anyone else. In my novel A Fae at the Race (available now at Amazon for $3.99 or free with Kindle Unlimited), the heroes win by casting a spell that releases the world from the glamor of a powerful, magical foe, but to get there, I do include a scene where one of the heroes has to physically battle one of these foes to the death. In Family Business (also available now on Amazon for $3.99 or free with Kindle Unlimited), the secret weapon is extortion, so that’s a step up. The thing is, I’m trying. Now, whenever I write a fantasy book, even one as action-heavy as mine tend to be, I actively try to come up with solutions that don’t involve violence.  

As far as media I consume, I’m not sure where this leaves me. Yes, I will watch The Falcon and the Winter Soldier this weekend, even though it seems to consist mostly of punching. I’ll watch Black Widow when it comes out in May, even though it is also mostly punching, but with Russian accents. I don’t hate violence, I just don’t like that it’s regarded as the only solution. I like fast-paced plots, and I like plucky protagonists who outsmart their foes. I don’t like a lot of comedies, and character-driven dramas don’t really interest me. This leaves me with not a lot of choice. I guess I’ll just keep looking.  

This Is Where I Live

Please indulge me while I make it about me for a second:

This is my home. I live in the Capitol Hill neighborhood, along with thousands upon thousands of other people. I don’t keep a home here and go back to my constituency every summer and winter. I don’t intern here and go back to where I came from. And I sure as hell don’t go to places where other people live and try to overthrow the government.

I live close to the National Guard Armory, and during our nightly walks, my roommate and I stroll by it. We have never seen people there before this month. Dozens of buses filled with camouflage-wearing men and women have been pulling up. The streets are full of soldiers, and armored vehicles drive past my block constantly.

The Capitol is close to my apartment. It’s far enough that a walk home from there while having to go to the bathroom is agony, but it’s close enough that it dominates the skyline if I walk a couple of blocks. It’s close enough that, if some entitled psychopaths decided to start torching residences, it wouldn’t take them long to reach me.

There is a park six blocks from my apartment where I go every weekend to have a latte and write. It’s full of young couples with their babies and children punching while their mothers tell them to “CUT THAT OUT!” Older people (who are, to my horror, not much older than I) go to the café on the outskirts there for meetups. There is a dog park there I’m not sure is actually a dog park, but put enough affluent people in a place with dogs, and it becomes one. Right-wing groups have been posting that they are using it as a gathering ground before they start their upcoming insurrections.

Restaurants in my neighborhood are not allowed to have outdoor seating until the end of the month. My doctor’s office closed because no one can get to the building through the barricades. There is an eight-foot fence surrounding the Capitol, previously one of the most accessible government buildings.

They don’t care. The people who are coming to town over the coming week to disrupt the legitimate swearing in of a new president couldn’t give a shit about the lives they’re disturbing, about the fact that they’re putting a city under martial law. It doesn’t matter to them because they are RIGHT. They are on a CRUSADE. The president they voted for, who isn’t all that popular in the first place, is the TRUE LEADER, and they don’t care whose lives they have to disrupt to make this TRUE.

This is my home. I’m so tired.

Hedging my Bets

When I was first writing the books that would make up my Urban Fantasy series, On the Hedge, my ex-wife asked me what I planned to do with all of them (I was about three in at this point). I told her nothing. I was writing the books for the sake of writing the books, and I didn’t want to put myself through the soul-crushing hell of trying to find an agent over some fluff I cranked out at weird hours of the morning.

Today, the first book in that series (The Web of Nightmares) is out on Kindle and Kindle Unlimited, and the reception has been … disappointing. I posted a link to the book onto an Urban Fantasy group page I follow, and the response was tepid. What did I do wrong? Was my blurb uninteresting? Did I pick a bad title? It the series name lousy? Is the book itself rancid garbage? I know it’s not the cover because the cover is amazing.

What do I have to do to get those people’s attention? Some of them like heavy action, some prefer more psychological drama. Some want romance, some won’t read a book with a hint of romance in it. Some want heroes, some want heroines. Some want vampires, some loathe vampires. A lot of them won’t even look at a book that’s self-published. It’s almost like they’re individual people with individual tastes or something. I could make myself crazy trying to figure out what they want.

So I’m not gonna. I’ve thought long and hard about this, and I’m not going to do anything different. (I might pay for advertising, though.) What was the whole point of this exercise I’m undertaking this year? Was it to become a bestseller, to quit my job, to save up for a vacation, to make money? No. It was to give my books the covers they deserve, to have a website and an author’s page on Amazon and a long list of credits on Goodreads. To have a physical novel in my hands that I can autograph for anyone who’s interested (coming in July). It’s to give me a goal to write toward. It was to make my books available, how I want them available, for anyone to see if they’re interested. To maybe pick up a few readers here and here. Money would be nice. A little notoriety would be nice, but you need a lot of luck, a much thicker skin, and a willingness to do a lot of things that aren’t writing to have that, and I have none of those things.

Do I write for the fame? To reach the widest variety of people to give them what they want? No. I write for me. I write to see words and situations and a style that I can’t get anywhere else. I write to process grief and trauma and philosophy. I write so that I can relive events in my life from a different perspective. I write to live out a fantasy of me, whether that makes me a monster-fighting witch, a sleazy philanderer, an out-of-control tomboy, or an IT person still in love with an old flame. None of these reasons are for the money, and I steadfastly refuse to change. This won’t make me a success, but I don’t want to be a success. I want to be a writer.

So stay tuned. This is going to be a big year for me. And, for the love of God, buy some of my books. I’d like to sell at least a few copies.

2020 Hindsight

The year 2020 was a terrible bust. A lot of people died for no good reason, politics somehow became even more toxic than it had been before, our government has proven itself to be incompetent and yet got (mostly) reelected in the fall, we haven’t been able to go on vacations, our economy’s collapsing without a reasonable federal response to keep it from getting worse, and we’re under quarantine for a disease that could be contained if people would stop being so stubborn and selfish.

I’m not here to pile on. Enough people are making anti-2020 memes and blog posts that my voice would add absolutely nothing. Even though the world is suffering right now, a lot of good things happened in my life, and not that 2021 is here, I want to look back on them in my effort to be a more positive person.

I found a job in the nick of time so I wasn’t a temp during the quarantine. I have health insurance, a(nother) 401K, holiday pay, and sick leave. My job is the least stressful job I’ve ever had, and it’s relaxing enough that I can stay focused on my current project when I’m not working.

I’ve saved up enough money to invest a large chunk of it for retirement. When I was married, my retirement was going to be funded by my rich father-in-law, but once that went away, I suddenly faced my encroaching sixties with fear and uncertainty. But I’m on the right track now, and I won’t have to worry about getting old.

Also, thanks to the job, I can purchase professional-looking covers for all of the novels I want to publish this year. My plan is that, under Jeremiah Murphy and James Newcastle, I am going to publish sixteen books in 2021, maybe more. Who knows what the plan will be in six months? This entire focus came to me in 2020. I know I won’t be a bestseller, or really much of a seller at all, but I will be out there, and anybody who’s curious can find me now.

I’ve written six novels in 2020, and I have an awesome website.

Because of Nicole’s class schedule and my reduced schedule, I have been cooking more, and I stopped being intimidated by it. I used to cook all the time, but then I quit for some reason and haven’t been able to get back into it. Thanks to this year, I have. After our “family dinners,” Nicole and I have been taking 2.5-mile walks around the area, which are an excellent bonding opportunity. Things were a little strained between us at the beginning of the pandemic, but in the summer, we found a groove and have slipped into it, and now things are perfect.

I get to spend a lot of time with my cat, who received a spotless bill of health in the fall. He’s actively sabotaging me as I try to work by being an aggressive cuddler, and I let him because he’s my buddy. He’s still pretty annoying, though.

I was furloughed and then let go from my job at The Container Store. As enriching and, at times, fun, as it was to work at the Reston store, the Washington D.C. store was a bit of a mismanaged mess, and I never really found my place there. It’s gone, and I don’t really miss it, and I can afford not to have this job now.

I built a lot of LEGO models and discovered a passion for it. I have space constraints and can only have one out at a time, but that gives me an excuse to break down models and rebuild them at a later date.

These are all minor things that are important to me and probably only me. They won’t comfort anyone who lost a job or lost a family member or friend to COVID—or even worse, came down with it themselves. But to me, they’re all huge. I was insanely lucky last year, and the last thing you can accuse me of is not being grateful enough for it.

The New Year is a construct. We are going into 2021 without any of our 2020 problems solved, and they won’t be solved for the foreseeable future. Don’t make the mistake of thinking that a calendar rollover will make everything better. I’m getting through this with my cat, my roommate, and my dreams. I hope you can find something to hold onto that makes you grateful.

Deconstruction Zone

Superhero deconstruction is big business. From Watchmen to The Boys and including the odious Man of Steel, creators are thinking seriously about what superheroes are, and they’ve concluded that they’re assholes.  

The genre was created to be one of hope for the little guy. When Superman was created, he didn’t take his power and use it to take over the country. He took on corrupt politicians and their goons. When The Bat-Man was created, he wasn’t beating economically disadvantaged muggers into hamburger on the streets, he was taking on evil capitalists like the kind who’d caused the Great Depression. They quickly fell into fighting costumed villains who wanted to overturn the status quo, but Superman’s optimism and Batman’s good-natured two-fisted justice brought the kids back for more.   

But deconstruction took a dark turn in the eighties. Thanks to The Dark Knight Returns, the fun-loving, straight-laced Batman of the fifties and sixties (and the globetrotting adventurer of the seventies) was turned into a fascist, sadistic psychopath, and he’s pretty much remained this way ever since. The image of Superman was forever tarnished because Frank Miller couldn’t imagine the US government not turning the Man of Steel into a mindless weapon for Reagan-era politics. DC’s top two heroes were turned into the worst versions of themselves.  

Now we have Zack Snyder’s Superman destroying a trucker’s entire livelihood because he hurt his feelings, and the audience cheers. We have Batman turned into a middle-aged, murderous fogey. Snyder was inspired by The Dark Knight Returns, and it shows. Superman v. Batman took away all of the heroism of their characters and turned them into empty punching machines.  

Meanwhile, in The Boys, we have Homelander, the Superman analog, and he is the answer to the question, “What does a 900-pound gorilla do?” Specifically, an indestructible 900-pound with laser vision and a great publicist. Garth Ennis, creator of The Boys, hates superheroes. He loathes them. He wants to do everything in his power to destroy them, so he turned the Justice League into murderous, drug-addled, Nazi rapists. (Ironically, in an issue of Hitman, Mr. Ennis told a Superman story with warmth and heart and positivity not seen in the character in some time.) 

Even Quentin Tarantino got in on the action. He’ll never lower himself to make a comic book movie because he makes Art(tm), but in a monologue in Kill Bill: Volume 2, the titular Bill breaks down the meaning behind Superman in a way that makes his whole character pretty unsavory.  

It seems like every time a creator wants to look under the hood of what makes a costumed hero run, and all they can find is grit and grime. Why? Because these creators look at all of that power, and they try to imagine what they’d do with it, and this is what they come up with. It seems like the modern concept of deconstructionism is basically: Superhero, but with nasty character flaw. It doesn’t have to be this way.  

In the sixties, Marvel came along with their own version of deconstruction. Stan Lee asked questions like, “What does a superhero do when their costume gets dirty?” The answer, you take it to the laundromat, where the bright red and blue colors turn your underwear purple. This is the kind of thing I love. The Flash has a super-high metabolism, so he needs to eat all the time. Spider-Man tries to make money as a superhero, which is the logical thing for a broke college student to do, but the checks are made out to Spider-Man, and he has no way of proving who he is when he goes to cash them. This kind of thing still goes on (see Ms. Marvel), but it’s eclipsed by the horrific violence and perversion that these dark deconstructionists want to inflict. 

As someone who owns a leather-bound copy of The Dark Knight Returns and prizes his twenty-two-year-old paperback of Watchmen (and who enjoys The Boys whenever it comes out), I certainly don’t dismiss deconstruction out of hand. But it would be nice if our heroes were heroes, you know? Instead of making them out to be inhuman monsters, make them human beings. Wouldn’t a little positivity be nice? 

Are Women From Venus, Though?

So, there is this cliché in culture where men find it cute and hot when women eat a lot. They don’t like it when she puts on extra pounds, though. It’s a lot like the way that men will brag about how they love a woman without makeup, but they are pretty horrified by what women do look like without makeup. Men want their women to look beautiful, but they don’t want their women to go through the work of looking beautiful. It’s inconceivable to us, the gender that can look conventionally attractive being kind of out of shape and taking a ten-minute shower that it might take a carefully monitored diet and up to an hour in the bathroom to be conventionally attractive.

Some of it might also be because we’re, as men, taught to devalue the girly, and what could be more girly than caring about the way you look?

So I’m making a female superhero a main character in my next novel (which won’t be a superhero novel per se, but will have superheroes in it), and I’m trying to think of the practicalities of her powers, and I briefly flirted with her having to eat 6,000 calories a day to function, so she was always shoving food in her face. But then I thought, do I want to be that cliché? So I’m going to pass on that. It would have made for a fun gag, but it’s also really misogynistic. I can give her a personality that’s not just a male wish-fulfillment quirk.

I know I’m not going to be a bestselling author, and my impact on the cultural zeitgeist will be that of a light cough, but it’s still important that I do the right thing.

Blinded with Science

I’m a skeptic. I don’t really believe anything unless it’s been peer-reviewed and analyzed to death. I don’t have a lot of faith. A lot of people look down on me for this. They say I’m closeminded, that I’m disconnected from the wonders of the universe. To the latter, I say, the universe, as science sees it, is incredible. I don’t need ghosts, which can be explained through hundreds of possibilities that don’t involve dead people, when I have fire—the fundamental deconstruction and rearranging of matter, and it’s pretty; or water, which has a molecular composition so unusual that our entire planet is built around it.

As far as being closeminded, I can assure you that just about every skeptic I’ve met or read would like nothing more than to find Bigfoot. A primitive hominid wandering around the Pacific Northwest for hundreds of years, just out of sight of civilization? How cool would that be? But it’s 2020, and everyone has a camera in their pockets, and the best we can come up with is blurry images and inconclusive footprints? No scat? No carcasses? When we meet Bigfoot, we want to meet him, not just anecdotes and conjecture, and we are lining up around the block for it.

Skeptics and science-based thinkers love ideas that challenge their own—provided those ideas are credible. The Theory of Evolution is one of those scientific principles that faith-based thinkers believe that we’re so married to that we won’t accept alternatives. What they don’t understand is that Darwin’s Theory of Evolution is almost unrecognizable from the Theory of Evolution as it exists today. The theories have been challenged, and they have been amended. That’s why the story of how COVID-19 and coronavirus works has changed so much in the past ten months. We keep getting new information, and the doctors incorporate it into what they know. They’re learning. If you govern from unyielding faith, you get our current government, and is that really what you want to aspire to?

I’m afraid to bring this up because most everyone I know is a believer in something I don’t believe in. Mostly God, but ghosts and other supernatural phenomena, as well. The fact that I say I don’t believe as they do is considered an attack, like maybe I think I’m better than them or something. Trust me, I’ve Facebook unfriended all the people I think I’m better than. And I get it, most public atheists are arrogant assholes, and they don’t make it easy to be me. Or my friends will try to talk me out of my skepticism, which has been honed for years and won’t go easily, or explain to me that I can be faithful and scientific. It was easier to tell the world that I’m not into sex, even though that’s weird and unnatural, than it was to tell people that I’m a non-believer.

Why am I taking a chance with alienating you? Because of TV. I have been watching this Netflix show (I won’t say the title because spoilers), and it has blown my mind. It’s about three investigators, a skeptic, a believer, and someone on the fence. What we’ve learned from pop culture so far is that, in these cases, the skeptic is due for a very hard lesson in the power of the supernatural. The non-believers are always taught that they need to believe. Not in this show, though. Four episodes in, and the miracles and demon possessions have all been roundly debunked. Science wins! (It’s obvious that this show has a supernatural undercurrent that is going to show its face in the metanarrative, but on an episode-by-episode, the skeptic is right!) Science never wins over the supernatural, unless it’s the Ghostbusters. I think the show is a one-season wonder, so it didn’t make it, but for a little while, at least, I can cheer as the scientific method conquers evil.

And honestly, in day of QAnon and cries of fake news, a little skepticism is probably a good thing.