Tag / Jon Stewart

by Edward Champion

The Content Trap

Every artist repeats himself. But when is creative repetition accessible? At what point do artists fall into the “content trap,” the creative moment in which originality and innovation are abdicated in favor of corporate whoredom, filthy lucre, and formualic mediocrity?

Every artist repeats himself, often without being cognizant of it: stylistic tropes, character archetypes, peculiar metaphors, and distinct storytelling moves. The more prolific the artist, the more likely the artist will repeat himself. I think of how Joyce Carol Oates — herself astonishingly voluminous — mentions the soothing comforts of vacuuming in the aftermath of grief in her memoir, A Widow’s Story, while drawing a similar comparison between death and vacuum cleaning in her short story “Cumberland Breakdown” (contained in I Am No One You Know).

So given that repetition is a creative inevitability, how do you avoid it? And when is repetition acceptable? These are vital questions to consider in an age of franchise fatigue, in a time in which an audience is now asked to devote its entire life to consuming endless reboots, remakes, and spinoffs that offer little in the way of originality.

Speaking for myself, the only way that you could get me to watch another bloated three hour Marvel Cinematic Universe movie (Three hours? Come on! You’re not Tarkovsky!) — whereby the now tedious destruction of New York is now an annoyingly guaranteed and yawn-inducing cliche — is if you locked me in a hotel room with a group of sinuous, supple, and wildly inventive lovers. And even then, my attentions would be more fixated on the far more rewarding existential variations of tendering affection and satisfaction to each and every sybarite who drops by for a mutually beneficial afternoon delight rather than the bullshit spectacle of Manhattan once again — for fuck’s sake, not again! — being reduced to rubble.

It is not that I am against genre. (I have always loved genre passionately!) But artists who work in genre tend to be the worst transgressors of the problem I am addressing here. Furthermore, I am strongly opposed to being bored out of my fucking mind. MCU movies bore me. As do the endless iterations of Star Wars rehashes and retreads, which now fills in every goddamned ambiguity that initially captured my imagination with an indefatigable series of cheap narrative disappointments. (Did we really need to see Boba Fett escape from the Sarlacc Pit? No, we didn’t. Boba Fett was a marvelous invention, the perfect side character who said very little and, before Disney+ turned this bloated and ever propagating franchise into a bland carpet rolling endlessly down a Poltergeist-style hallway of limitless length, Boba Fett’s laconic presence invited you to speculate about just why he became a bounty hunter. I’ve been told that Andor actually breaks out of the formula, but I am frankly too fatigued by all the George Lucas wankfests to dive in.) I could not give two fucks about The Walking Dead, even though I enjoyed the flagship show in its early seasons. Characters move from one location to another, kill zombies, fend off some villain of the season (such as Negan or The Governor). Lather, rinse, repeat. Same shit, different day, different television spinoff.

But Fringe? Farscape? Twin Peaks? Issa Rae’s great series Insecure? They ended at just the right time. No problems there! For that matter, Better Call Saul struck a heartbreaking note of artistic perfection while also neatly aligning itself with its cousin, Breaking Bad. Twin masterpieces! Both shows in the Alberquerque universe arguably represent some of the best television of the last twenty years. Because the writers knew when their time was up. They knew the precise point when they were about to repeat themselves. I have great hope for For All Mankind, which possesses enough of an imaginative arsenal to run for multiple seasons without becoming dowdy, largely because of the innovative way in which the show jumps forward a decade each season with its “What if?” premise.

Brian K. Vaughan is one of the best living comic book writers working today. Why? Well, it’s largely because he knew when to wrap up Paper Girls. When Saga hit a heartstopping cliffhanger in Issue #60, Vaughan and artist Fiona Staples took a four year hiatus and didn’t return until last year. And Saga has sustained its high artistic quality because this dynamic duo knew that they couldn’t repeat themselves and that they needed a long break to get it right. But Dave Sim? Jesus Christ, what a tragic fall from grace. The man who changed the possibilities of what independent comic books could be succumbed to distasteful misogynistic incel rants. All because he was so singularly obsessed with hitting Cerebus #300. Imagine a world in which Cerberus stopped at Issue #150. Dave Sim would be a hero rather than a well-deserved pariah.

At 75, Stephen King may be the best example of pop fiction staying power that we have. While there are undeniable King tropes (the dangerous religious zealot, the endearing simple-minded sidekick seen with Wolf in The Talisman and Tom Cullen in The Stand, and an empathy for blue-collar types that has rightly caused his books to be revered by many), the man is still successfully working in other non-horror genres such as crime (Billy Summers) and dark fantasy (Fairy Tale). And while he has been self-effacing about declaring himself the “literary equivalent of a Big Mac and fries,” his capacity to grow as a writer in his seventies and still win us over would suggest very strongly that he’s a lot more than this.

The excellent audio drama Wolf 359 knew when to quit. As did Wooden Overcoats. The Amelia Project? Nicht so viel. It is now a stale and uninventive retread that no amount of new characters or talented actors can salvage.

Trevor Noah knew when to leave The Daily Show. As did Jon Stewart. At least initially. But after taking a few years off to write and direct films, his ego became seduced by the fame, attention, and money that emerges from churning out more of the same. He returned to the airwaves with the same schtick, vastly eclipsed by the far more thoughtful and more hilarious approach of John Oliver on Last Week Tonight. (I truly hope that Oliver knows the precise moment to quit. Because it would be a pity to see him transmute into a disinterested has-been hack.)

The Who and Led Zeppelin both ended at nearly the right time (although the less said about everything after Who Are You, the better; opinions vary on whether or not Zeppelin’s final album, In Through the Out Door, was entirely necessary). Had Keith Moon and John Bonham lived longer, I think it’s likely that they would have turned into 1980s corporate rock sellouts that Gen X punks like me would have justifiably ridiculed with formidable sneers. And while John Lennon’s assassination by Mark David Chapman was truly terrible, imagine (har har!) what kind of hideous reactionary Lennon would have transformed into in the 1980s. Or Kurt Cobain. Or Janis Joplin or Jimi Hendrix. This fun but unsettling speculative game — which I personally guarantee will enliven a dull party — is what Billy Joel (who quit writing songs long after his talent was tapped, but who at least had the decency to spare us further River of Dreams drivel) was referring to when he sang about “the stained-glass curtain you’re hiding behind.”

In other words, every artist has a finite amount of talent and imagination. Sometimes it extends within a given project or a stylistic approach. Sometimes it’s represented in an entire career. I used to love T.C. Boyle’s work, but now I find him insufferably repetitive. Why? Because Boyle hasn’t changed his formula much in the last ten years. It is highly doubtful that we will get another novel on the level of World’s End or The Tortilla Curtain from him. And that’s a damned pity. At some point around 2014, Boyle stopped caring about whether he was evolving as an artist and started to phone it in.

Lost? Battlestar Galactica? Both shows lasted at least one season too long. They were both wildly popular and didn’t seem to understand that the creative well had run dry. Imagine if they had ended at the right time.

The artists who didn’t know when to stop or change things up fell into what I’m calling “the content trap.” The content trap is what happens when something distinct and original becomes wildly successful, but corporate greed or an artist’s narcissistic need for chronic adulation gets in the way of knowing when the jig is up. Ego prevents an artist from knowing when it’s time to end things. And what we usually get are inferior repeats of the same stories that initially captured our imagination. Let’s be honest. If Douglas Adams had actually confined his Hitchhiker’s Guide to the Galaxy series to the trilogy format, what would be so bad about that? I think Adams knew that So Long, and Thanks for All the Fish was never going to live up to the three books that preceded it. He was so impaired by the need to write content for the fourth book that publisher Sonny Mehta had to move in with Adams to make sure that he finished the novel. Douglas Adams — for all of his wit and radio drama innovation — fell into the content trap. On Community, Dan Harmon had a running joke in which characters suggested that the show had “six seasons and a movie” of material. And had Community been renewed for a seventh season, there is no way that its formidable writers could have summoned anything as brilliant as “Remedial Chaos Theory.” Dan Harmon didn’t fall into the content trap.

John Cleese — a genius whom I worshipped as a teen — hasn’t been funny in years. His best days are far behind him. Why? Because he fell into the content trap. He’s bringing back Fawlty Towers decades later and it’s completely unnecessary. On the other hand, I had thought that Star Trek: Picard was a dead retread incapable of further innovations, but the third season has somehow found new life under showrunner Terry Matalas. Here was a show that fell into the content trap, but that somehow clawed its way back, even resolving an Ensign Ro storyline from decades before. In other words, it’s not impossible for a content trap victim to reverse course and find a vital reason for creating new art. (Witness the surprising endurance of Doctor Who over more than fifty years — although its recent partnership with Disney+ does have me greatly worried — or Philip Roth’s multiple periods of resurgence. Or how about Tina Turner’s Private Dancer (after four dismal solo albums)? I’ve lost track of the number of comebacks that Miley Cyrus has had, but you’d be hard-pressed not to groove to Endless Summer Vacation.)

Most artists find it difficult to escape the content trap once they fall into it. But here’s the good news: everyone loves a comeback. And if we start demanding higher standards of the work we love and that goes on on and ever ever on rather than accepting bullshit like some hopelessly compromised head-bobbing fanboy who settles for, well, anything, then even once beloved artists have a shot at surprising us with the imagination and talent that is buried somewhere within them. That is, if they can successfully resist the large bags of money that corporate overlords continue to wheelbarrow into their palatial estates so long as they continue to offer us more of the same.

(Special thanks to my friend Tom Working, whose insightful comments partially inspired this essay.)

by Edward Champion

Jon Stewart and the New Political Privilege

But if the cost of this unity involves slicing the edges off the political spectrum, if it involves ignoring the obvious facts that Goldman Sachs created an orphan month to puff up its earnings and good people had their lives changed by subprime loans and the derivatives casino rewarded the rich at the expense of the poor, then there is something seriously wrong with our priorities. It involves embracing a myth that is just as dangerous as the fabricated Reagan prosperity narrative promulgated by the Tea Party crowd.

“Think for yourselves, and let others enjoy the privilege to do so, too. It is the sole consolation of weak minds in this short and transitory life of ours.” — Voltaire, “Toleration”

I did not attend Saturday’s rally because, like many Americans, I could not afford to. I did not have the cash for the $60 Boltbus round trip, the $100 or so to spring for a night in a motel room, and the $40 (very conservative estimate) for food and water. $200.

Now imagine the tab if you have a kid. Factor in childcare and you’re easily getting into the $400 range if you were a parent hoping to participate in a rally that was being compared in some corners to Martin Luther King. Sure, you could blow a few hundred bucks to make a purported difference or you could put that money into your kid’s Halloween costume. Or maybe that’s a few weeks of much needed groceries. Or maybe that’s what you need at the end of the month to make mortgage or rent.

The upshot is that, in this economy, $200 is a lot of money for many people. If you are among the 10% of Americans who remain unemployed, the ones who are being told that economic recovery is just around the corner, then those two Ben Franklins are worth a good deal more. And these are the people we’re not talking about. These are the people we can’t talk about. Because unless it’s a message from the Rent is Too Damn High Party, talking about poverty and class division isn’t nearly as entertaining as an episode of Jersey Shore.

If you could afford to go to Washington last weekend, you practiced your new political privilege. This privilege was reflected in the mostly white demographic that turned up in Washington. It was reflected in Jon Stewart and Stephen Colbert’s performance of “The Greatest Strongest Country in the World”:

Stewart: They don’t care about the gays
Colbert: That’s mostly true
Stewart: They’re terrified of Muslims!
Colbert: Well, they scare you too!
Stewart: But I would never talk about it / Folks would get annoyed
Colbert: You’re a coward
Stewart: Yes, but I’m still employed (going into a falsetto yodel)

The satirical song’s message, a sentiment also reflected in Stewart’s closing speech, is that there is no longer any room for hyperbole, extremist rhetoric, and “insanity.” If you’re lucky enough to remain gainfully employed, maintaining a Spock-like commitment to cold “logic” while others face the savage brunt of rising costs and diminishing prospects, keeping your job is more important than speaking your mind or commiserating with the hard realities of a family who has to skip a few hot meals. The message is this: It could have been you, but, hey, you’re still employed. Don’t take a chance. People might get annoyed.

And how exactly does this represent togetherness? Togetherness doesn’t mean shunning people, but listening to the viewpoints you despise. And while you may be bathing in a Stewart-Colbert afterglow, the “insane” people will be there in the voting booths on Tuesday. There will be hard and possibly irreversible developments because a bright red cluster was just told that its feelings didn’t matter. That the manner, however inappropriate, in which people responded to justifiable concerns about unemployment and foreclosure wasn’t valid. Yes, they amplified their messages until their posters turned into increasingly stranger exemplars for Godwin’s Law. But if the corporations had given them jobs as Wall Street enjoyed its best September since 1939 or someone had listed to justifiable concerns about being forced to pay exorbitant costs thanks to one of the biggest giveaways to private industry in American history, would we even have Christine O’Donnell as a candidate? Would we even be diminishing political discourse by considering the gentlemanly angles on muff diving?

While keeping atavistic sentiments out of evenhanded analysis is a worthwhile goal, there are several problems with Stewart’s overgeneralized view of the way the media and the political conversation operates — hardly limited to what David Carr has courageously and reasonably offered. As Glenn Greenwald wrote in September, where’s the space for someone engaged in genuinely independent and non-ideological inquiry? The fact that the audience applauded strongest when Stewart yodeled about keeping his job suggests that public discourse is not necessarily about the politics, but about keeping one’s privileged position. The new privilege is, irrespective of Rick Sanchez, being able to hold onto your job and being able to spend money to go to a rally. What of those who aren’t part of this illusory middle class? The ones who were left behind like the poor saps missing the rally, stuck in traffic on the “free” Huffington Post buses? Was Saturday, as Mark Ames suggested, more of “an anti-rally, a kind of mass concession speech without the speech–some kind of sick funeral party for Liberalism, in which Liberals are led, at last, by a clown?”

I don’t want to pin the blame on the 215,000 people who attended the rally, particularly since many conservatives are attempting to undermine this number with dubious metrics. These goodhearted people attended this exercise in good faith, seeking confirmation that there was a safer way to express their political commitment. As someone who witnessed firsthand in San Francisco the manner in which suburban people were squeezed out of the Iraq opposition rallies on February 15, 2003 (the largest global anti-war rally in history) after the protest turned bad, discouraged by the loud and loutish voices who caused their swift surrender, it was a great relief to witness a new political unity.

But if the cost of this unity involves slicing the edges off the political spectrum, if it involves ignoring the obvious facts that Goldman Sachs created an orphan month to puff up its earnings and good people had their lives changed by subprime loans and the derivatives casino rewarded the rich at the expense of the poor, then there is something seriously wrong with our priorities. It involves embracing a myth that is just as dangerous as the fabricated Reagan prosperity narrative promulgated by the Tea Party crowd.

The people who attended this rally may very well be without this Wall Street greed. But the ones who have caused our national problems have been anything but civil. The Glenn Becks and the Keith Olbermanns who fulminate hysteria are not, it is important to be reminded, selling our grandchildren into slavery.

In his speech, Stewart talked about the “selfish jerk who zips up the shoulder and cuts in at the last minute. But that individual is rare and he is scorned, and he is not hired as an analyst.” Not at all. These selfish jerks are hired in droves on Wall Street. Reason won’t deter the very insane avarice and the unremitting selfishness of the economic elite. You can’t always bring a book and a calm demeanor to a knife fight.

In fact, few have remarked upon the selfish qualities contained within Stewart’s speech. The first sentence: “I can’t control what people think this was.” Near the end: “If you want to know why I’m here and what I want from you I can only assure you this: you have already given it to me. Your presence here was what I wanted.” You will not find the verbs “want” or “control” in Martin Luther King’s “I Have a Dream” speech. In Obama’s much longer and more nuanced “A More Perfect Union” speech, you will find our future President using the phrase “we want” (not “I want”) numerous times, but never “control.” King and Obama brought people together during these moments not because they dictated to their audiences what they wanted (and thus, as Stewart has done, dictated how they should respond), but because they invited their listeners to become part of their journey.

The difference is that Stewart can rescue himself from any criticisms because he can always play the “I’m a comedian” card. Yet it isn’t too much of a stretch to see that Stewart’s “I want” has now eclipsed Kennedy’s “Ask not what your country can do for you, ask what you can do for your country.” Stewart suggested to his audience that “because we know instinctively as a people that if we are to get through this darkness and back into the light we have to work together,” but he has, rather brilliantly, sandwiched this facile notion of working together within the troubling crust of “I can’t control” and “I want.” And “I want” is a more dangerous beast than the fleeting optimism contained within “Yes we can.”

“I want” is the mantra of entitlement. “I can’t control” is the sentiment of someone whose view of the “opposition” is relegated to a quick glimpse of someone in a car, where judgments as superficial as Beck and Olbermann reduce a complex individual to a neat demographic label. The mom with two kids who can’t think about anything else. The Oprah lover. What about the people who don’t have the money for gas?

Stewart is on firmer ground when he suggests that racists and Stalinists are “titles that must be earned” and that labels should be granted to those “who have put forth the exhausting effort it takes to hate.” But what about more subtle disgraces? Systemic issues? By these standards, the cab driver who does not stop for a black man, the gay couple that is not permitted the same benefits as a married couple, or the ongoing wage gap between men and women should be given less amplification.

As John Scalzi recently noted in a list, you don’t have to worry about any of this. You can attend a rally and feel good about yourself. What you may not realize is that clowns much bigger than Stewart and Colbert — the ones who took your tax dollars during the bailouts and the ones who speculate on commodities and raise your daily prices — are laughing at you.

by Edward Champion

Mothlight and the WGA Strike

wga3.jpg

America’s troubled soul snaked around two building corners on a late Monday afternoon. It read books. It offered quizzical pikers when WGA strikers handed out pink papers containing the phone numbers and emails of eight Viacom head honchos. It took pictures of the fourteen placard-holders as if on holiday. But there were no visible signs that it was registering the hypocrisy of standing in line for a show that was allegedly progressive (and pro-union) in tone as strikers quietly expressed their rights with signs. Maybe the strikers were performance artists or buskers who had escaped the subway. I kept vigorous watch, hoping that a few audience members would feel disgusted and walk away, only to be readily replaced by those in the standby line. But they held onto their tickets like hard-won candy.

wga5.jpg

The eager audiences waiting to see Jon Stewart and Stephen Colbert lob a few unscripted bons mot about the state of politics remained uninvolved. They were there to be entertained. A bald man in his early forties disseminated circulars. He told me that the strike had been a success.

“Is it?” I asked. “These people are still standing in line.”

He didn’t give me his name and he declined to be interviewed at length. But we did talk for a few minutes.

I was interested in this man, because I had seen him trying to quietly persuade people in the Daily Show standby line, who appeared to take these flyers more readily than those who had tickets. One young man told him, “If we’re close in any way to the front, we’ll do what we can.” “Do what we can.” It essentially amounts to nothing.

To be fair, The Daily Show admitted its audiences at the pre-determined time, permitting its audience to see the WGA strike. The Colbert Report, by contrast, shuttled in their audiences well before the 5:00 PM start time so that the strikers would not be seen or, at least, endured as infrequently as possible. “What a mess!” proclaimed a plump woman standing protectively near the Colbert Report doors. She complained that there had been no progress in two months. The strikers were gnats to be swatted away on a wintry day.

wga2.jpg

With the exception of a funny interviewer from Associated Press TV who quipped to one Colbert Report audience member, “Enjoy the show,” shortly after challenging his need to be entertained, the media was, for the most part, out to lunch. A New York Post reporter spent most of her time talking on the phone. “Sorry, I’m so spacey!” she said as she talked with WGAe President Michael Winship. The outlets who came included CNN, NY1, and me — if I am indeed an outlet.

“It’s only ten after four?” bitched one reporter. “I thought I’d been here for a day. Jesus.”

He had arrived only fifteen minutes before.

I was extremely saddened to see that nobody waiting in line really cared. There was no reaction from these audience members. No acts of dissent. The pink flyers were folded inside newspapers, deposited on the sidewalk like stray trash. Just as American audiences had chosen Leno over Letterman, despite Letterman busting his hump to cut a separate agreement with the Guild, the audience here opted for entertainment over integrity.

wga6.jpg

The strikers silently holding up placards circled up and down the queue, appearing to be mostly comprised of WGA members from other productions. (One writer I talked to was from All My Children. There’s a podcast interview below.) If there was a Daily Show writer in the bunch, the writer did not announce himself. I asked a few strikers if there was anyone here from The Daily Show and they told me they did not know. One gentleman declined to answer. Perhaps answering involved a confession of failure.

Since the bald flyer man refused an interview with me, I approached the WGAe publicist Sherry Goldman, asking if I could interview her. She wouldn’t talk to me on tape, snapped at me, and turned briskly away to answer her cell. I had seen her talking in front of a camera. I approached her again and said, “Excuse me. You’ll talk to CNN, but you won’t talk with me?” She then very kindly led me to WGAe President Michael Winship. I also talked with All My Children writer Kate Hall. You can listen to the podcasts below.

WGA Strike -- Michael Winship (1/7/08) [ 2:38 ] Play Now | Play in Popup | Download
WGA Strike -- Kate Hall (1/7/08) [ 1:49 ] Play Now | Play in Popup | Download

Winship: And let me say that all of these guys have been very supportive of the strike thus far and that we are not protesting them as people. They’ve been great. They’ve been supportive of the strike. They’ve been supportive of their writing staffs. But their companies — the big companies, the media conglomerates, the penny-pinching producers if you will — will not allow them back on the air because they won’t bargain a fair and respectful contract.

Correspondent: Now do you consider Jon Stewart and Stephen Colbert to be hyphenates. Are they actually, by going back to work, kind of going against the nature of the strike here?

Winship: Jon Stewart and Stephen Colbert are both members of the Writers Guild of America. They have both been given copies of the strike rules. They know the kinds of work that they’re not allowed to do. And they know that there are penalties that can take place if they, in fact, perform what we consider struck work.

Correspondent: But if The Daily Show were to show a clip in advance, if they were to design it in advance and have Jon Stewart comment on it, would that constitute an act of writing in your eyes or…?

Winship: If Jon is spontaneously ad-libbing and responding to a clip that’s on the air, we don’t consider that struck work.

Correspondent: What would you consider out of the boundaries of what he can do today?

Winship: Well, in terms of things that he can and cannot do, one of the things that he could not do is to write a monologue in advance or go on the air with material that appear on cue cards or a teleprompter.

Correspondent: Yeah. Gotcha. But anything else pretty much? Ad-libbing, he’s fine then.

Winship: Well, the rules are pretty specific about things that he can and cannot do. He cannot write questions in advance for interviews, for example. He cannot write the monologues, as I said. He cannot write any kind of sketch material for the show.

Correspondent: But let’s say that there’s a guest who appears, who has like a book or something like that. He’s going to have to read it in advance. Does that constitute writing or preparation?

Winship: I don’t think reading constitutes writing. If he was writing down his questions in advance and so forth, that would struck work. But if he has a guest on the air whose book he has read and he asks questions off the top of his head, that is not struck work.

I was fascinated by Winship’s criteria about what “writing” entails. One cannot prepare a show entirely in one’s head. There must be the need to write words down. And nearly all of Jon Stewart’s clips feature those trusty blue pieces of paper. Or are these sheets mere props?

As it turned out, the January 7, 2008 episode of The Daily Show did indeed have a guest: conflict resolution specialist Ronald Seeber, presumably a friendly nod to the WGA strike. But did Stewart take notes before this interview? Did Stewart prepare his questions in advance? And if he did, is there any real way for the WGA to enforce this?

wga1.jpg

It’s also important to observe the distinction put forth by WGA. In the WGA’s eyes, Jon Stewart is not the enemy. Viacom is.

From my interview with Kate Hall:

Hall: We’re not striking The Daily Show or Jon Stewart. I think everybody here for the most part — I can’t speak for them, but I would imagine that they’re all big fans of his and the show. So we support him. We just won’t support Viacom’s decision to put him back on the air without the writers.

wga7.jpg

But if the WGA wasn’t striking The Daily Show, what were they doing in front of The Daily Show building? Is not Viacom providing the resources to run The Daily Show? And is not Jon Stewart, in going back to work, complicit in allowing Viacom to continue running The Daily Show? It seems to me that he gets off on a technicality.

But let’s take a look at the strike rules, as Mr. Winship suggested.

Since Jon Stewart and Stephen Colbert are hyphenates, Rule 12 applies to them:

The Guild strongly believes that no member should cross a WGA picket line or enter the premises of a struck company for any purpose. Under applicable law, however, the Guild may not discipline a hyphenate for performing non-writing services. This legal restriction only extends to services that are clearly not writing services. (Emphasis in original.)

If Stewart or Colbert write so much as one word on a sheet of paper, either before the show, during the show, or after the show, then they are in violation of the agreement.

It is impossible to imagine either The Daily Show or The Colbert Report succeeding in any way without writers or a scrap of paper.

However things ended up, the moths were there, attracted to the light. Unconcerned with who provided the electricity.

(Many thanks to Sarah Weinman for assisting in this report.)