Cinemorphosis

Tag: writing

  • Death by Clean-and-Jerk: a TV Tragedy

    Death by Clean-and-Jerk: a TV Tragedy

    In the span of five minutes yesterday, I managed to destroy not one but two Samsung QLED smart TVs, each a 55-inch, three-year-old, $700 reminder of my own idiocy.

    Samsung Number One had been sulking in the bedroom, untouched for a week. I had banished it there after splurging on a $1,500 LG OLED for the living room. Last night I flicked it on and found half the screen swallowed in black vertical lines, like a funeral shroud. The culprit? Most likely my own heroic attempt to hoist it solo onto a dresser—an Olympic clean-and-jerk without the chalk or the applause. The impact probably jarred the LCD panel, cracking delicate circuits invisible to the eye but fatal to the image. Maybe a ribbon cable came loose from the T-Con board, which can sometimes be reseated if you’re the kind of person who enjoys performing surgery with tweezers and a magnifying glass. I am not. That Samsung was escorted to my office, where it joined the growing eWaste Waiting Area, a sort of graveyard for gadgets that lost their duel with me.

    Undeterred, I marched into my daughter’s room for Samsung Number Two—the TV I’d lent her after moving things around the previous week. She was at Knott’s Berry Farm with her friends, which seemed like a merciful stroke of timing. My plan: reclaim the Samsung, and let her inherit the old 43-inch LG, a relic from 11 years ago that weighs twice as much as the newer, bigger Samsungs.

    But hubris is a loyal companion. Samsung Number Two sat high on her dresser, and I went at it like a gorilla in a hurry. I spread my arms wide to span its edges, but my right thumb betrayed me—it dug into the panel with a sickening crackle, leaving a dent in the digital flesh. In a feat of magical thinking, I told myself, “The panel probably bounced back.” Reality arrived the moment I powered it on: fresh black lines stood exactly where my Hulk thumb had pressed, like a signed confession of my clumsiness.

    Two lessons were carved into my soul in those catastrophic five minutes. First, modern TVs are absurdly fragile, delicate to the point of parody compared to their beefy ancestors. Second, I am unspeakably stupid.

    Now I must cram two cadaverous Samsungs into my car for their last ride to the eWaste center and figure out how to replace my bedroom screen. My daughter, surprisingly pliant, agreed to keep the old LG. As for my bedroom, I’m buying cheap: a $259 Roku 50-incher with deliberately low expectations. And from now on, I will follow the Prime Directive of Television Handling: any set larger than 40 inches must be carried upright by two people, no exceptions. This is not a powerlifting meet. There is no medal stand. A modern TV is a wafer-thin, brittle-screened diva.

    So: velvet gloves. And no grunting.

  • How The Monkees Taught Me That the Intellectual Can Beat the Bodybuilder and Inspired a Song

    How The Monkees Taught Me That the Intellectual Can Beat the Bodybuilder and Inspired a Song

    October 16, 1967, was a victory for the writers of cynicism. It was the day I learned the universe doesn’t give a damn. This was the day the veil was lifted. I was five, just shy of my sixth birthday, watching The Monkees, blissfully unaware that my entire worldview was about to be wrecked. The episode? “I Was a 99-lb. Weakling.” The plot? Micky Dolenz, the Monkee I admired most, gets metaphorically pancaked by Bulk, a human monument of muscle played by Mr. Universe Dave Draper. Bulk was no ordinary gym rat; he was a colossus in Speedos, the prototype Schwarzenegger. Worse, he stole Brenda, the beach goddess, right out from under Micky’s nose.

    Micky, desperate to win her back, did what any of us would: he signed up for Weaklings Anonymous. Their solution? Hoisting weights the size of small cars and downing fermented goat milk curd—an elixir I can only assume tasted like liquid despair. He even sold his drum set, jeopardizing the band’s future, all to build enough brawn to challenge Bulk.

    And for what? Brenda, fickle as fate, had a sudden epiphany—muscles were passé. She ditched Bulk for a scrawny intellectual buried in Remembrance of Things Past. Apparently, Proust’s multivolume exploration of memory and ennui was hotter than biceps.

    There, in front of my Zenith TV, I watched Micky’s heart crumple, and with it, mine. The moral of the story was clear and soul-crushing: hard work guarantees nothing. You could sacrifice, sweat, and sip goat curd until you resembled a Greco-Roman statue, only to find the universe had other plans—plans that favored nerds with library cards.

    The Monkees changed everything. The show taught me the brutal truth of irony: things don’t go the way as planned. I didn’t have the word for irony as a five-year-old, but I could feel it sending an existential chill through my bones. 

    As the decades passed, I finally processed that childhood memory into a piano song I wrote, titled “The Heartbreak of Micky Dolenz”:

  • We All Wanted to be Adopted by The Brady Bunch

    We All Wanted to be Adopted by The Brady Bunch

    In the hellfire of the summer of 1971—sun like a coin press and every pine needle a tiny oven—I was nine and certain the world owed me a miracle. My family and four others had staked a two-week claim on a rugged patch of Mount Shasta: we fished, water-skied, swatted hornets, and lazed beneath the buzzing halo of a massive battery radio that vomited The Doors, Paul McCartney, Carole King, and Three Dog Night into the pines. It should have been Eden. It should have been bliss. Instead it felt like the production meeting for a childhood trauma.

    One dawn I lay cocooned in my tent, not merely asleep but translating into the rarest dream of my short life. In that vivid pantomime I’d been plucked off our campsite and dropped into San Francisco, standing before a gleaming red cable car with the Brady Bunch beaming at me like a panel of missionary saints. Mike and Carol had already signed the papers. I was family now—promised the split-level, the avocado-green kitchen, my very own bunk. My brain supplied questions with the urgency of a petition: Would I get a room? Would Greg tolerate me? When would they shoot my induction episode?

    Then Mark and Tosh—the twin saviors of sobriety—tore the dream away like a curtain ripped mid-scene. “C’mon, man, fishing,” they croaked, their voices the sound of gravestones being lowered. Fishing? Fishing?! I had been adopted by television perfection and now I was expected to sniff out worms like a commoner. I sulked with the theatricality of a miniature tyrant, trudging the rest of the day with the scowl of a man exiled from paradise, my secret grief lodged like a splinter under the skin of my soul. There was no way to explain. “Sorry, I can’t bait a hook—my new stepfamily needs me on stage.” Right. I bit my lip and chewed on humiliation.

    My father barked like a sergeant and cut the melodrama down with a single order: “Get with the program. We’re living in the wild.” The wild, he meant, with its yellowjackets circling our biscuits and a lake full of indifferent fish. I wanted the Brady kitchen, not a fishing pole and a chorus of stings. The pointy little deaths of mosquito bites and the cheap tin of powdered pancake mix were the actualities. The dream stayed lodged; reality kept showing us its rough, unvarnished palm.

    That sulking boy at Mount Shasta believed his fantasy was a portal out of chaos—a personal miracle nobody else would imagine. The joke is that it wasn’t original. Millions of American children were fed the same sedatives: thirty-minute morality plays in which family harmony was manufactured to lipstick level. While we bathed in their canned warmth, the actors backstage were burning through lives: addiction, affairs, fights that would make our own messy households look like spas. The dissonance between stage-gleam and soap-opera sludge is almost religious in its cruelty.

    Should we expect actors’ private lives to line up with the squeaky-clean product they sell? Of course not. It would be as reasonable to expect Superman to sort his recycling. Hollywood is a factory of facades: glossy façades varnished over dysfunction. The Brady Bunch was the perfect exhibit—an engineered Eden whose actors were stuck inside their own human messes. Yet we kept praying to that televised altar because fantasy is sweet and often cheaper than facing the real family across your table.

    Decades later, the fantasy will still sneak up on me. Sometimes I dream my face is a square in that opening montage—cheeks plump, grin kerchiefed to perfection—living, forever, inside a clapboard postcard where problems resolve in thirty minutes. In the dream I am blissfully ignorant of the backstage carnage. I wake up with that small, ridiculous ache—a taste for a world that never existed, an appetite for a comfort that, like cheap candy, rots faster than it satisfies.

  • Tooter Turtle Goes to Gold’s Gym

    Tooter Turtle Goes to Gold’s Gym

    When you’re old, you burn daylight running stupid counterfactuals. Forty years of teaching college writing and now I mutter to myself, “You were never meant to be a professor. You were meant to be a personal trainer.” This fantasy is less revelation than acid reflux—I can’t keep it down no matter how hard I try.

    But let’s be honest about the personal trainer gig. Path A: you scrape together rent money coaching half-motivated clients through limp triceps pushdowns while they whine about kale. Path B: you cater to narcissistic celebrities who want you to count their lunges in a whisper, until their self-absorption has hollowed you out like a dry coconut.

    In this farce, I’m no different than Tooter Turtle, that cartoon sad sack from my childhood. Every week he begged Mr. Wizard to reinvent him as a lumberjack, a detective, a gladiator, a football star. And every week he proved that no matter how much you change the costume, you can’t change the pratfall. His new career always ended in humiliation, panic, and the desperate cry: “Help me, Mr. Wizard!”

    That’s us: eternal college freshmen, forever switching majors, convinced that the next “out there” will be our deliverance. But when the magic portal opens, we loathe ourselves for asking.

    Me, a personal trainer? Please. Within a week I’d be rolling my eyes at clients’ flabby excuses, pawning my kettlebells to cover insurance premiums I don’t have, and slinging creatine tubs from the trunk of my Honda. I wouldn’t be a coach—I’d be a sidewalk prophet of six-pack abs, half-broke, half-starved, and wholly ridiculous.

    Punchline: In short, I’d be Tooter Turtle in gym shorts—begging Mr. Wizard to zap me back to the classroom, where at least the only thing I’m destroying is a freshman’s thesis statement.

  • The Intruder from the Cypress Gloom

    The Intruder from the Cypress Gloom

    Sometimes you hear stories of horror and the supernatural, and you don’t know what to do with them, especially if the person telling the story seems sane and credible. As a result, the story lingers and haunts you for all your life. For example, I’ve never forgotten a story one of my college students told me back in the fall of 1998. She was a re-entry student—a nurse in her early forties—juggling coursework at UCLA with overnight hospital shifts. The kind of woman who sticks in your memory: short, sturdy, glasses perched low on her nose, with the weary, perceptive eyes of someone who’d seen too much and lips that knew how to pace a punchline.

    Most afternoons, after class let out, she’d linger by my desk and recount episodes from her Louisiana backwoods childhood or from the fluorescent netherworld of her hospital’s VIP wing. Her stories ricocheted between absurdity and horror—tales told with the calm authority of someone who could handle arterial spray with one hand and chart notes with the other.

    But one story gripped me by the spine and never let go. It wasn’t about dying celebrities or ER gore. It was about something far worse. A visitation. A monster.

    She and her cousin Carmen were feral children, raised in the lawless heat of rural Louisiana, where school attendance was optional and adult supervision was more myth than fact. Left to their own devices, the two girls invented what she called “mean games”—they tortured frogs, pulled wings off insects, and hinted at darker cruelties she refused to name. Lord of the Flies in sundresses.

    And then one afternoon, the visitor arrived.

    They were holed up in a decaying house, conspiring over their next cruelty, when the porch door creaked open and something stepped inside. It looked like a man. But it wasn’t. Over six feet tall, it had a tail—thick, muscled, and disturbingly animate. It moved with a will of its own, curling and flicking behind him like a fleshy metronome. His body was bristled with wiry hair. His voice? Low, hoarse, and calm in the most terrifying way. He didn’t threaten. He simply listed.

    Sitting in a rocking chair, the creature, a sort of rat-man, described, in brutal detail, everything the girls had done—every frog mutilated, every insect dissected. Nothing vague. He named the acts like he had them on file. And then he made his offer: Keep going, he said, and I’ll recruit you.

    He stayed for three hours. Just sat there. Breathing. Flicking that tail. Describing their path toward damnation with the steady tone of a bureaucrat explaining retirement benefits. When he finally left, dissolving into the heat shimmer of the Louisiana dusk, the girls were too stunned to move. Carmen whispered, “Did you see that?” My student just nodded.

    They never spoke of it again. But they changed. Overnight. Sunday school. Prayer. Kindness, enforced not by conscience but by fear. The kind that settles in your bones and never leaves. Whatever that thing was, it did its job.

    And this is the part that haunts me: she wasn’t a kook. She wasn’t mystical, manic, or given to exaggeration. She was a nurse—clear-eyed, grounded, more familiar with death than most people are with taxes. She wasn’t telling a ghost story. She was giving a deposition.

    To this day, I see those two girls, wide-eyed and paralyzed, staring down a thing that knew them intimately and promised them a future in hell’s apprenticeship program. Whether it was a demon, a shared psychotic break, or some mythological construct formed by childhood guilt and Southern humidity, I don’t know. But I do know what it meant.

    The creature’s message was brutal in its simplicity: Keep practicing cruelty, and you’ll lose the ability to stop. You’ll become it.

    That’s not just folklore. That’s biblical. The idea that if you repeat your wickedness long enough, God—or whatever you believe in—stops interrupting you. He doesn’t smite you. He simply steps aside and says, Go ahead. This is the life you’ve chosen.

    No wonder Kierkegaard was obsessed with working out your salvation with fear and trembling. There’s nothing more terrifying than the idea that damnation is self-inflicted, not by a thunderbolt, but by repetition. That the road to hell is paved with muscle memory.

  • Last Car Syndrome

    Last Car Syndrome

    I was nearly sixty-four, four decades of teaching college writing having corroded whatever patience I once had, and I found myself drowning in self-disgust. My life, once measured in lectures and essays, had narrowed to a single, grotesque question: Camry or Accord? I fretted over it as if I were choosing a confession—Catholic or Presbyterian—with my eternal soul dangling over the dealership lot. The absurdity didn’t escape me. I had real problems: blood markers creeping upward, a rotator-cuff tear ruining kettlebell workouts, bedrooms that needed painting, twin daughters who needed driver’s training, retirement forms stacked like little gravestones, and the scramble to joint bank accounts so my younger wife wouldn’t face probate nightmares. And yet I could not stop watching YouTube reviews and refreshing Reddit threads that compared the new Camry to the Accord.

    I vacillated like a madman.

    Driving to pick up the girls from high school, I’d spot an Accord and sigh: “Ah, the Accord EX-L in Canyon River Blue. Very peaceful. Not a bad car to die in.” A second voice—practical, bored—would snap back, “It’s a car, not a coffin, dummy!” So I’d argue with myself: “But this will be the last car I ever buy. Surely it is my Death Car.” “God, you’re morbid! How can I live with you? Get away from me!”

    The next day I’d see a Camry SE in Heavy Metal and melt. “Look how it fits that color—everything’s right. Under thirty-three K and it feels Lexus-adjacent.” My inner realist would applaud the improvement: “At least you’re not talking about death. Progress.” Then the skeptic: “But the Accord is quieter. I need quiet. And the Accord dealership is walking distance—drop it off, walk home. That’s handy.” Followed by doubt: “Wait—people say the new Accord looks like a Ford Taurus. Can I live with that kind of ridicule?”

    It went on and on. My wife learned to read my posture: the slight slump, the hand rubbing the back of my neck—the tell that I was about to launch into Camry-Accord hell. She would cut me off before I even opened my mouth: “Stop right there, buster. I don’t want to hear it. Just make your damn decision!”

    For a while I wallowed alone in the torment.

    Then one morning I woke up and declared I didn’t need a car at all. I’d driven, on average, three thousand miles a year for the last decade—hardly the mileage of a man who needed a shiny new vehicle. The decision felt radical: my daughters could take the older Accord, my wife the newer one, and I’d borrow a car when necessary. No purchase. No shiny new vehicle gathering dust like a suburban reliquary in the garage. Why buy something to admire between piano practice and Netflix binges? I told myself the choice was genius. 

    But after snacking on a virtuous bowl of buckwheat groats with unsweetened soy milk, banana slices, pumpkin seeds, cinnamon, and a dash of manuka honey, the energizing snack snapped me out of my delusion.. Suddenly the whole farce of my deliberation looked naked: I was suffering from Last-Car Syndrome: the unconscious understanding that in my mid-sixties, my next car purchase was essentially my Death Car, so I avoided the purchase like I avoided death. 

    Fortified by my power breakfast, I stood up, chest puffed like a man claiming moral clarity, and barked at the ceiling, “Who am I kidding? I’m buying a new car. I deserve it.”
    So now it’s only a scheduling question—six months from now, or next week.

  • When It Comes to Swim Trunks the Size of a Hotel Mint, Maybe Opt Out

    When It Comes to Swim Trunks the Size of a Hotel Mint, Maybe Opt Out

    The New York Times article, titled “Skimpy Men’s Swimming Briefs Are Making a Splash,” offers a solemn dispatch from the front lines of GLP-1 drugs, but I would guess that men—having exhausted every form of visible self-optimization—are now expressing their Ozempic-enabled slenderness via tiny, Lycra-clad declarations of status. We’re talking male bikinis, or what I like to call the ego sling.

    Apparently, if you’re dropping $18,000 a year to chemically suppress your appetite and shed your humanity one subcutaneous injection at a time, you deserve the privilege of looking like a Bond villain’s pool boy. I suppose this is the endgame: pay to waste away, then wrap what’s left in a luxury logoed banana peel.

    Luxury underwear companies, never ones to miss a chance to monetize body dysmorphia, are now marketing these second-skin briefs not as mere swimwear, but as power statements. To wear them is to say: “I’ve defeated fat, joy, modesty, and comfort in one fell swoop.”

    I’m almost 64. My aspirations remain high—ideally, I’d like to look like a special-ops operator on vacation in Sardinia. But I know my place. I wear boxer-style swim trunks, the cloth of the pragmatic and the semi-dignified. They’re not exciting, but neither is seeing a sun-leathered septuagenarian adjust a spandex slingshot over a suspicious tan line.

    There’s a difference between being aspirational and being delusional. The former means striving for vitality, strength, and energy. The latter means stuffing yourself into a satirical undergarment and pretending you’re a twenty-two-year-old wide receiver with a sponsorship deal.

    To my fellow older men: sculpt your body like it’s your spiritual obligation—but when it comes to swim briefs the size of a hotel mint, maybe opt out. Not every part of youth is worth reliving. Some of it deserves to be left in the chlorine-stained past, right next to Axe body spray and Ed Hardy tank tops.

  • The Death Car Dilemma: How One Man Escaped the Camry-Accord Abyss

    The Death Car Dilemma: How One Man Escaped the Camry-Accord Abyss

    At nearly 64, with four decades of college writing instruction corroding his patience, Aiken Riddle found himself drowning in self-disgust. His life, once measured in lectures and essays, had shrunk to a tormenting question: Camry or Accord? He obsessed over the choice as though he were deciding between Catholicism and Presbyterianism, his eternal soul dangling in the balance. The absurdity wasn’t lost on him. He had genuine problems—blood markers creeping north, a torn rotator cuff ruining kettlebell workouts, rooms that needed paint, twin daughters who needed driver training, retirement forms stacked like gravestones, and joint bank accounts to secure before death turned his finances into a probate nightmare for his younger wife. Yet he couldn’t stop watching the YouTube videos and Reddit pages comparing the new Camry and Accord. 

    He vacillated like a madman.

    One day while driving to his twins’ high school to pick them up, he would see an Accord and would say to himself with a sigh, “Ah, the Accord EX-L in Canyon River Blue. A very peaceful color. Not a bad car to die in.” Then another voice would say, “It’s a car, not a coffin, dummy!” Then he’d retort: “But this will be the last car I ever buy. Surely, it is my Death Car.” Upon which he’d rebuke himself, “God, you’re morbid! How can I live with you? Get away from me!”

    Then the next day while picking up his girls from their school, he’d see a Camry SE in Heavy Metal and would say, “Ah, the Camry seems to be made for that color. Everything fits perfectly. Plus for under thirty-three K, I’m getting a taste of Lexus.” Upon which his other self would say, “At least you’re not talking about death. That’s an improvement.” Then he would say, “But the Accord is a quieter ride. I need quiet. Plus, the Accord dealership is walking distance away. I can drop off the Accord and walk home. That tips the advantage to Accord. But, wait, people are saying that the new Accord body style looks like an old Ford Taurus. Can I live with such ridicule?”

    Over the ensuing days, he would go back and forth. It reached the point that his wife could tell by his body language that he was about to talk about his Camry-Accord dilemma and she would interrupt him even before he opened his mouth: “Stop right there, buster! I don’t want to hear it. Just make your damn decision!”

    So he was alone in his torment. 

    One day he woke up and said he didn’t need a car. He calculated that for the last decade he had only driven three thousand miles a year. That hardly merited getting himself a new car. The decision was final: His daughters would take the old Accord and he’d give the newer one to his wife. He would simply borrow their cars when he needed them. 

    The decision was genius. He would not be less obliged to drive when he felt his driving skills had compromised over the last decade. He was by nature a recluse. His decision to not buy a car helped his cause. Why spend forty thousand dollars so I can behold a rarely-driven car in my garage before returning to the living room to play the piano or watch Netflix?

    He learned that sometimes a decision is not either/or. There is sometimes another option, and not getting anything can be the best one of all.  

  • Florida Fever Dreams and Katrina Floodwaters: Future Writing Prompts I Can’t Quit

    Florida Fever Dreams and Katrina Floodwaters: Future Writing Prompts I Can’t Quit

    I work obsessively hard to develop essay prompts for my college students. When they prove effective and resonate with the students, I am gratified beyond words and will keep the prompt for perhaps too long. I have an assignment about a diet writer Rebecca Johns who in her essay “A Diet Writer’s Regrets” explores the irony and misery of gaining weight while dispensing weight-loss tips in her women’s magazine articles. Her inability to execute her own advice becomes an opportunity for my students to explore the notion of free will when it comes to weight management, especially now that GLP-1 drugs are proving that dependence on technology can be so much more reliable than aspirations toward self-agency. The students’ essays over the last four semesters have been truly engaging, revealing either their own weight-management torment or a friend or family member’s. 

    One problem, though, with an essay prompt is that as it gets used semester after semester some of the essay components, such as the counterargument-rebuttal section, start looking the same. I suspect the previously written essays become in some form or other available to the new batch of students, and for this reason, I think even the best essay prompts have a limited shelf life. 

    Another challenge with creating essay prompts is that you don’t really know how they will land with the students until you actually try it out. For example, I was very enthusiastic about my freshman composition class’s first assignment in which they write about the crisis of young men who lack a sense of belonging and purpose and how in their vulnerable state they become vulnerable to the deceptions, manipulations, and false claims of bro influencers. We studied the Liver King who is said to have made over a hundred million dollars and in his caveman cosplay, he was simply too ridiculous and grotesque for my students–all athletes–to take him seriously. He proved so absurd that whatever gravitas I was trying to squeeze out of the assignment just felt like a joke. While millions of men followed their organ-eating cult leader, my athletes were not impressed, and I felt that my essay prompt suffered for it. As a result, I doubt I’ll do that one again.

    Looking ahead, I’m thinking of Florida as less of a physical place and more of a mental fever swamp where I can explore the notion of freedom in its immature and mature incarnations. The TV comedy series It’s Florida, Man and the documentary Some Kind of Heaven about a hedonistic senior citizen home could be an effective exploration of the perils of perpetual adolescence. To avoid making the essay prompt nihilistic, I am leaning toward a contrast essay in which the students explore a more healthy kind of freedom as Cal Newport advocates in his message of “deep work”–the idea that focused work is essential to flourishing and self-fulfillment. 

    Another topic that possesses me is Hurricane Katrina, the idea that a natural disaster was made into a man-made catastrophe through neglect and reckless disregard for the people of New Orleans. This ignominious chapter in American history is a powerful window into red-lining, government corruption, and media misinformation. The riveting documentaries Hurricane Katrina: Race Against Time (Hulu) and Katrina: Come Hell and High Water (Netflix) convince me that I will be exploring Hurricane Katrina next semester. 

    My challenge with Katrina is making sure the story doesn’t collapse into pure tragedy. To balance the devastation, I need to highlight the unique culture of New Orleans—the joy, the tight-knit families, the music, food, and resilience that define the city. The message I want to leave students with is that, despite catastrophe, New Orleans has a distinctive soul that continues to draw the world to its city.

    I suspect even after I retire in less than two years I will still sniff out writing prompts. Coming up with essay prompts is my addiction, and this addiction isn’t going away anytime soon. 

  • Pleasure Island with Humidity: My Obsession with It’s Florida, Man

    Pleasure Island with Humidity: My Obsession with It’s Florida, Man

    I find myself embarrassingly smitten with It’s Florida, Man on HBO Max, a six-episode documentary romp that most critics dismiss with a shrug. The Hollywood Reporter’s Daniel Fienberg summed it up with clinical indifference: “The premise is very straightforward. Each half-hour recounts a real-life mishap of the kind that helped Florida develop its national reputation as a meme in state form . . .”

    Fienberg is right about the meme, but he undersells the spectacle. Florida isn’t just weird—it’s a hallucinatory soup pot where the heat never turns down. A bubbling Bouillabaisse of runaways, con artists, half-baked dreamers, and humidity-pickled misfits; the broth gets richer, stranger, and more intoxicating by the hour. Novelists like Carl Hiaasen dip their ladles in and remind us with glee: “You couldn’t write this if you tried.” Comedian Marc Maron, who has roamed the continental madhouse, concurs: there is no asylum wing quite as deranged as the Sunshine State.

    The final episode, “Mugshot,” is my favorite. A wanted man from Pensacola turns into a social-media celebrity after his mugshot detonates across Instagram. The local police, suddenly auditioning for daytime television, turn their manhunt into a Jerry Springer-style circus, complete with suspect-shaming and moral squalor masquerading as civic duty. You couldn’t script it unless you were drunk, desperate, and willing to risk being fired by HBO for turning in satire disguised as reportage.

    As a college writing instructor, I confess I watch shows like this with an ulterior motive: I’m always looking for essay prompts hidden in the wreckage. It’s Florida, Man practically delivers one to my desk, gift-wrapped in neon: “Freedom and its Discontents.” Not the noble kind of freedom—what philosophers used to call “freedom for”—where self-discipline leads to self-agency, flourishing, and mastery, the Cal Newport variety of cultivated freedom. No, Florida, Man wallows in the basement: “freedom from.” Freedom from the Id, from restraint, from consequence, from sobriety. It’s Pleasure Island on a peninsula, and the longer you stay the faster your ears sprout into donkey ears, your voice degenerates into animal brays, and your dreams curdle into swamp gas.

    It’s Florida, Man isn’t just entertainment. It’s anthropology of the grotesque, a front-row ticket to America’s most unruly carnival, where freedom is mistaken for license and the monsters are very much real.