4.10.12

Presidential Debate Drinking Bingo: 2012 Edition

RULES

Every player is issued a standard bingo card. When a candidate hits an item on the list, all players mark the square with the number corresponding to that item. Once a player gets a bingo, all other players take a shot/drink. The cards are not replaced after a bingo--each player uses the same card for the duration of the debate.

LIST OF ITEMS OF INTEREST

Item Category
49 Gay marriage Domestic
8 Chinese own American debt! Domestic/Debt
21 Debt burdening our children! Domestic/Debt
45 Debt ceiling Domestic/Debt
11 Simpson-Bowles debt commission Domestic/Debt
12 Dodd-Frank bank regulations Domestic/Economy
53 Manufacturing job growth Domestic/Economy
65 Single moms Domestic/Economy
22 Small business owners Domestic/Economy
50 Charter schools Domestic/Education
71 Make college more affordable Domestic/Education
70 More STEM teachers Domestic/Education
39 Clean coal Domestic/Energy
4 Energy independence Domestic/Energy
26 Keystone XL Domestic/Energy
64 Nuclear power Domestic/Energy
46 Bureaucrat death panels Domestic/Health
56 Health care for veterans Domestic/Health
30 Health care personal anecdote Domestic/Health
5 Health care provider choice Domestic/Health
52 Romneycare Domestic/Health
29 Path to citizenship Domestic/Immigration
62 Undocumented workers Domestic/Immigration
59 Entitlement reform Domestic/Spending
34 Wasteful spending Domestic/Spending
35 Welfare fraud Domestic/Spending
19 Cap and trade Domestic/Taxes
23 Close tax code loopholes Domestic/Taxes
1 Lower taxes for middle class families Domestic/Taxes
60 Mexican drug cartels Foreign/Americas
6 Chinese economy Foreign/Asia
69 EuroZone crisis Foreign/Europe
25 Saber rattling with Russia Foreign/Europe
67 Afghanistan Foreign/Middle East
3 Iran nuclear program Foreign/Middle East
18 Iraq Foreign/Middle East
51 Special relationship with Israel Foreign/Middle East
44 Syria Foreign/Middle East
47 Islamic extremism Foreign/Terrorism
68 Libyan consulate security Foreign/Terrorism
57 Osama Bin Laden Foreign/Terrorism
33 America's role in the UN Foreign/World
66 Drone strikes Foreign/World
24 The US must have a strong military Foreign/World
55 47% Miscellaneous
15 Ann Romney Miscellaneous
40 Candidate attempts to plow over moderator Miscellaneous
31 Clumsy metaphor Miscellaneous
48 Founding fathers Miscellaneous
7 God Miscellaneous
32 Joe Biden Miscellaneous
14 Joke falls flat Miscellaneous
16 Michelle Obama Miscellaneous
17 Paul Ryan Miscellaneous
43 Reversal of fortune! Miscellaneous
20 Ronald Reagan Miscellaneous
28 Zinger falls flat Miscellaneous
38 A woman's right to choose Quotes
9 Arab Spring...Arab Winter?! Quotes
41 Brave men and women overseas Quotes
37 End Medicare as we know it Quotes
42 Failed policies Quotes
61 I will never apologize for America Quotes
74 In cases of rape or incest Quotes
13 Job creators Quotes
73 Let Detroit go bankrupt Quotes
72 Let me be clear: Quotes
58 My opponent Quotes
10 Olympics! Quotes
63 Raise taxes on the middle class Quotes
27 Rogue state/regime Quotes
2 Shared prosperity Quotes
54 That's not true Quotes
75 There you go again Quotes
36 Uh…uh… Quotes

21.3.12

Le garçon aux funérailles


 “Hey, Henry.” Henry looked up from his shoes to see a young girl walking up to him. She wore a black gown, with a small necklace of white pearls; her hair was done up as fancy as he’d ever seen it.
“Hey, Cecilia.” He glanced at her eyes, then sheepishly looked away. She wrung her hands together for a moment—it was oddly adult and juvenile at the same time.
“I’m sorry about your grandpa.” He’d died a week ago, in his sleep, at the ripe old age of 94. Henry, of course, didn’t realize quite how long 94 years was, and in his youth only knew that his grandpa was gone forever, before they even really got a chance to know each other. Of course, that feeling had as much chance of intensifying with age as it did of diminishing.
“Thanks.” She didn’t seem genuinely sorry, really, to Henry; but he appreciated the words even if there was no sentiment behind them. Cecilia leaned onto her front foot, tapping her left toe on the ground a couple of times.
“Everybody’s so sad. I don’t like it.” She did mean that.
“Well…maybe we can cheer them up.”
Cecilia shook her head. “How?”
“I don’t know. When I play a prank on somebody it cheers me up.” Cecilia punched him in the shoulder.
“You always play them on me, and they never cheer me up.”
Henry shrugged. “Grownups are weird. Maybe they’ll like it. They like it when kids do stuff, anyway.”
You’re weird,” she said, shaking her head, but he already knew she was on board with the idea. “What are you gonna do?” He pointed toward the building at the top of a small hill within the graveyard.
“I was looking around in there earlier. Somebody left some buttermilk on the counter inside. It smells really bad, I think it expired.” Cecilia looked baffled.
“What can you do with that?”
“I heard my mom talking; she said the car that carried grandpa’s coffin is leaving for another funeral at a different church soon. I’m gonna put it under one of the wheels, so it gets run over when the car leaves, and goes everywhere.” He mimed a large splash in the air with his hands.
“That’s not funny!” Cecilia shoved him. “That’s gross!”
“It’s funny because it’s gross. None of it’ll get on you anyway.” Henry certainly didn’t understand the potential for a release of all the nervousness and negative feelings that had accumulated around the funeral as a result of just enough unpleasant things happening to be absurd, inciting laughter—or perhaps he understood it intuitively.
“I’ll sneak in and get it,” Henry said. “You stay out here and make sure nobody comes in and catches me.” Before she could reply, he’d disappeared behind some shrubbery.
Cecilia started walking toward the hill. The building was isolated in the middle of several large sections of the graveyard filled with tombstones and other memorials; a single gravel road ran to it up the hill, but she couldn’t see anyone else in that direction. All of the adults and the other children were gathered further away, near where Henry’s grandfather had been interred, talking to family and friends.
As she began to climb the hill, walking between the rows of tombstones, she noticed that none of them were particularly interested in her, although one person would occasionally steal a glance in her direction. Most likely they thought she was off wandering, as children of any age are wont to do; but it was not really a concern to anyone until she threatened to disappear from their line of sight.
She reached the top of the hill and waited. The leisurely pace she’d taken meant that Henry’d had a few minutes already to get the carton of buttermilk, so she simply stood in place, shoved her hands in her pockets, and made sure that no one was approaching the building. Her wait was uneventful; eventually she saw Henry sneaking back down to the bottom of the hill with the carton in hand. She took a slightly quicker pace to meet him.
He whispered around the bush when she’d reached the bottom: “I got it, it was easy. Somebody moved it though, but they didn’t throw it away.” He shook the carton; she heard the buttermilk sloshing around inside.
“What do we do now?”
“You stay here.” He pointed at another row of bushes on the other side of the road. “I’m going to sneak along behind those, and then put the milk underneath the hearse.” The bushes would take him all the way there.
“What about me?”
“I don’t know. Hide by the bushes, but make sure you can watch me.” He headed off again. Cecilia crouched where she was, next to the bushes, and watched silently.
Henry carried the expired milk carton in one hand, sneaking stealthily (or so he thought) up to the parked hearse. The smell of rancid buttermilk would almost certainly disgust everyone in attendance at the outdoor reception when the hearse pulled away and smashed the carton.
He was almost there when Cecilia noticed Henry’s mother strolling over. It had been her father-in-law that had passed; her husband was managing the rest of the family at the moment, and providing directions to the reception. She saw a man in a flat cap smoking a cigarette; he tossed it on the ground and ground it out, beginning to walk toward the hearse.
“Hi, Cecilia,” Henry’s mother said, and crouched next to her, pushing a stray bang away from her face. “Are you OK?” Cecilia nodded. “Listen—why don’t you stand up, and I’ll take you back to your parents,” she said, and Cecilia complied, still tracking Henry’s progress.
He had reached the car now. He looked back at Cecilia, standing near the bushes now, next to his mother—despite herself, she gave him a thumbs up and grinned.
His mother saw Cecilia’s gesture, and followed her line of sight to Henry, crouched in front of the automobile. He met her eyes for a moment; she stretched her arm out toward her son and cried out: “Henry! Don’t put the quart before the hearse!”

13.3.12

A Prison Confessional


“Peter Tinsley?”

“Yeah.”

“Prisoner’s ready for you. You need anything, just yell for me.”

Tinsley looked up at the guard and nodded. “Got it.”

“Don’t think this guy will give you any trouble anyway.” He opened the door and held it open for Tinsley, who shuffled through. His rubber soles caught on the floor slightly, giving his gait an odd halting quality. The door closed behind him.

A slightly built latino with a buzz cut sat on the other side of the table, hands apart and palms down in front of him.

“How you doing, Juan?” He shrugged.

“I’m in prison, man.” Tinsley thought he saw the faintest hint of a smile at the corners of Juan’s mouth.

“Isn’t your parole hearing coming up?”

“Next week. Don’t think they’ll let me out though.”

“You never know.” Tinsley reached into his messenger bag, laid a legal pad and a pen on the table. He pulled a digital recorder out and placed it next to the pad. “Remember what we talked about?”

“Yeah. You need quotations for your article.”

“Are you ready?” Juan shrugged.

“Never matters much in here,” he said flatly.

Tinsley rolled the recorder back and forth across his palm, the stood it on end on the table. “I’m going to turn it on now.” Juan stared silently across the table, then nodded, almost imperceptibly.

“Would you state your name?”

“Juan Luis Pasqual.”

“How long have you been incarcerated?”

“Eight years. Convicted for fifteen.”

“And what were you convicted of?”

“Attempted murder. Second degree.”

“What did you do?”

Pasqual hesitated a moment, eyeing Tinsley. Then, finally: “There was a guy. He raped my sister. She didn’t get a rape kit—she was scared, embarrassed, didn’t know if she could trust anybody. She couldn’t even look me in the eye for a long time. But there was nothing else to pin it on him, so he walked. And I couldn’t let him do that to somebody else.”

Tinsley was nodding along. The pad and pen he’d laid on the table remained where he’d put them; everything Pasqual would say was something he’d already committed to memory. “What did you do?” Pasqual leaned forward.

“I figured out when he was going to be home alone. I brought a crowbar. That’s what he used to…” He swallowed. “I waited until he opened his front door, and I rushed him. Knocked him on the ground inside his house, and started beating on him. He tried to protect himself with his arms; but I broke those, and I was just hitting him again and again. I got his head a few times. I was only in there a minute—a couple of the neighbors saw me, and stopped me, held me to the ground.”

“You wanted to kill him.”

“It was an error of impunity,” Pasqual said, chewing on the phrase. “Him getting away with it. He deserved it.”

“But he survived.”

“I put him in a coma. He was plugged into one of those machines, couldn’t survive without it. Still is.”

“You were convicted fairly quickly by the jury. You must have thought it’d at least take a little longer.”

“Hey, I still did it. No getting away from that; facts are facts.”

“Fair enough.”

“They put me in here. 15 years, minimum sentence, eligible for parole at 51% of time served. Judge probably had a sister.”

“How did prison change you?”

“Place gives you a lot of time. You get to thinking about things. Enough of that and you start to ask questions…sometimes they make you uncomfortable but you have to answer them anyway.”

“What kind of questions?”

“They change the more you think. First it’s ‘Do I belong in here?’ Then you move on: ‘Did he deserve it?’ ‘Did I do the right thing?’”

Tinsley stared at him. “Did you?”

Pasquale sighed, a small gesture that nonetheless revealed all of the weariness and regret that he carried with him.

“What I did to him—that was wrong. Doesn’t matter what he did. It’s not about who deserves what, or whatever. His mom didn’t deserve to have a rapist for a kid, but she didn’t deserve to have her son taken from her either. Where’s it end, man?”

“Nobody would blame you if you never apologized.”

“I got a lot of letters at first. Telling me, “you did the right thing,” “I’m a brother and I’d have done it too,” you know. “God bless you.” That one got to me a little. I mean, is that what God’s about, you know? But they stopped sending them after a few months. I guess people just wanted to feel good about a bad thing happening to a bad person.”

“And now you want to try make amends.”

“No. Can’t set things right; what’s done is done. But that guy had a family, friends, and none of them knew him the way I knew him. We all learned a lot about somebody because of what I did. I didn’t know I could murder somebody. Honestly…” Pasqual dropped his eyes to the table, and then glanced at the wall. “I wish I didn’t know that. I could go on believing that we’re all good or bad, but that makes me an evil man. I don’t think I’m evil, but maybe that’s not for me to decide anyway.”

“What did you do about his family?”

“I didn’t know him the way they did either. Wasn’t two separate people, the rapist and the wholesome All-American boy. They were the same guy. I took his life away from him, the same as if I killed him, so I thought it was right to know what I took. I started writing to everyone who I remembered knew him, everybody I remembered from the trial. Some of them wrote back.”

“Were you surprised by the kinds of responses you got?”

“More surprised by who I got them from. His brother was the one I ended up talking to a lot. He had a lot of trouble with the idea that the guy could rape somebody. I had trouble with the idea that a rapist could be a guy a lot of people liked, so I guess we were sort of the same. Kindred spirits.” Tinsley shifted in his seat. “He and his brother were rich kids, trust fund kids, so he had a lot of money to spare.”

“You wanted to do something.”

“Yeah. We’re starting a charity. I’ve been trying to get more donors on board from in here…the kind of people who’d listen to a con. He’s looking at people his family would run with—not exactly my kind of people, you know.”

“Your charity would fund counseling programs for victims of sexual assault.”

“My sister could have used somebody better to talk to than me.”

“The charity would also provide counseling to other people.”

“People like his brother. For family members and friends of people who fell into comas, or persistent vegetative states. Me and him, we hurt a lot of people. They shouldn’t have to suffer for what we did.”

“They’re what you could call second-order victims, people who were hurt indirectly. Like you.”

“Difference is they don’t try to kill anybody.” Pasqual was silent for a moment, staring at Tinsley. His gaze was impenetrable.

“You’re up for parole next week.” Pasqual shrugged. “Not too high on your chances?”

“It’s hard for a felon to get a decent job. I’ve got people who’d look out for me, anyway.”

“Your sister?”

“My family.”

“I’m sure, considering the circumstances, you’d be first on the parole board’s list of good candidates.”

“I’ve already been in here 8 years. Few more months won’t matter.”

Tinsley looked at the tape recorder. “OK, I think we’re done.” He turned it off. Pasqual leaned back in his chair.

“You got what you need, man?” Tinsley put the recorder in his bag, followed by the pad and paper.

“Yeah. I’ll be in touch if I think of anything else, but that probably does it.” He stood up, securing the strap and sliding the bag onto his shoulder. Pasqual offered his hand across the table, still seated.

Tinsley shook it. “I’ll send you the article when it gets published. Good luck at the hearing.”

Pasqual nodded, releasing his hand.

“Guard?” Tinsley asked, rapping his knuckles on the door. “I’m finished.” He heard footsteps approaching the door from the other side; it swung open presently. Tinsley looked back at Pasqual for a split second, and passed through the door. The guard closed it behind them, and led Tinsley away from the room.

They approached a barred gate. “Hastings here will take you to the front gate,” the guard said, and gestured to another guard standing on the other side of the bars.

As he passed through the halls of the prison, he was preoccupied with rearranging the primary source information he’d collected into a coherent article, now that he’d accumulated it all. There was the broader criticism of retributive justice as opposed to rehabilitative justice that he intended to make, but that could be done simply enough by any policy wonk. The real emotional core of the story was the case of Juan Luis Pasqual, and his sister, and the family of her rapist.

Hastings nodded at him. They had reached the exterior gate, next to the parking lot. “Just show the gate guard your visitor badge, and he’ll let you through. He nodded at Tinsley as he stepped through.

Tinsley began walking toward his car. It was Pasqual that would make or break the story for the editors. People could support the idea of a rapist who escaped conviction being summarily punished by a vigilante, but what would they say if that vigilante deeply regretted his actions? Decided they were wrong, even?

He’d reached his car. He pulled his key ring out of his pocket and unlocked the door. His messenger bag fell on the passenger seat as he slid into his seat and closed the door. Tinsley sat there for a long moment. Ultimately, it didn’t matter whether people liked Pasqual or not, or believed that his change of heart was foolish or hopelessly naïve. What mattered was what Tinsley believed: regret was OK. Forgiveness was OK—even forgiveness for the most heinous of crimes. That message needed to be put out into the open; Pasqual’s was a story that needed to be told.

Tinsley leaned forward over the steering wheel and turned the ignition, smiling. After all—Juan’s good turn deserved an author.

23.2.12

On Commando

Commando begins with a happy (presumably married) couple in bed, unexpectedly woken up by the morning garbage pickup. The man, frustrated, brings the garbage cans to the curb, where he is promptly murdered for his trouble by two of the henchmen of the film.


Our introduction to Arnold Schwarzenegger's role features scenes establishing the lifestyle of John Matrix and his young daughter, Jenny (a very young Alyssa Milano). He is capable of displays of masculinity--chopping wood, moving giant logs, muscles glistening with sweat, for example--but the example set down by the film has the juxtaposition of that masculine display with the emasculation of the forest. At any rate, there is no sexual outlet provided for Matrix.


Later, we learn that his own past as a sort of special military operative is something he would very much like to distance himself from, and Jenny has an obvious distaste of his promiscuous past as well: "You said you weren't going away again. You said you were through." A clue, perhaps, toward how Matrix's disavowed sexuality was a bad influence on his family. Jenny's mother, interestingly, is never seen or mentioned; it's possible she was adopted, which would make sense for a gay man or a gay couple. Of course, Matrix was very good at what he did: "silent and smooth, just like always." Relatedly, when Matrix first escapes after having been captured, he escapes from a passenger airplane, which symbolizes succinctly his readiness to escape from male sexual norms.


The obvious clue toward Matrix's sexuality, of course, is the lingering shot of him attempting to clean ice cream off his face, at the beginning of the film. And all the background we need is given to us when the film shows us Matrix's truck, sabotaged by the villains of the film--impotent. Without his daughter, he has absolutely nothing going for him: or as Matrix puts it, "the only thing that matters now is Jenny."


James Horner's main theme deserves special mention for reinforcing the impressions we're given visually about Matrix. The orchestration features the melody carried by prominent steelpans, with the occasional prominent saxophone fill, and the later appearance of a pan flute. This is not exactly the most traditionally masculine combination of instruments, but forceful synthesized percussion provides the needed punch.


Without exception, every person in the film who displays any heterosexuality whatsoever is portrayed as disgusting and repulsive. Take, for example, Sully, who is shown making labored advances on Cindy (Rae Down Chong) the first time the film introduces us to her. He later follows her to her car, opening with the jaw-droppingly creepy "I've got something I'd really like to give you." But slightly after she rejects his advances, Sully is shown very deliberately smoking a cigarette, and appearing to be satisfied. So we are left with the impression that perhaps his advances seemed so forced because he was forcing himself to make them, counter to his actual sexuality.


Later, Matrix is arrested by the police, and it falls to Cindy to rescue him. She pulls up next to the van at a red light, and the two officers in the cab proceed to harass her: "I think she's got something for us." "I bet she does." Notice that the euphemism is the same one Sully chose, except this time inverted humorously.  Cindy pulls out a rocket launcher after the van starts moving again, disables the vehicle, and rescues Matrix. It's a woman that rescued him from the clutches of the leering straight cops, but she did so using a very male weapon.


The act of shooting should be read as a sexual act, which in turn reinforces the usual subtext of guns as phallic objects. Throughout the film, Matrix dispatches his opponents with cold and dispassionate efficiency, using various firearms (most of which are large-caliber, i.e. vicious and damaging). Conversely, their guns might as well be cosmetic. Matrix achieves satisfaction and at once denies it to his counterparts. This implies his sexual proclivities: he is a power top, but also derives pleasure from denying his sexual partners any chance at a climax. The implication for Matrix's character is that he very much does not participate fully in the range of interactions with his partners, denoting a sort of self-denial which has already been established in the film otherwise. And to boot, this is not a rejection of gay norms, since roles like top and bottom are accepted and acknowledged.


Matrix does manage to show emotion occasionally, but only when he is in combat with another powerful man, with an outstanding example being the duel he has with Cooke (Bill Duke). Throughout the action, they completely smash a room up, break into another with a naked male/female couple having a good time on the box spring (they are ignored), and finally Matrix manages to knock Cooke on his back and at the same time impale him. The symbolism is straightforward.


Another interesting thing to note is that almost every time Matrix commandeers a vehicle, the act is preceded by the literal murder of the owner or the caretaker of the vehicle. In effect, it is a trophy-taking after the conquest. In fact, every vehicle he commandeers is non-masculine in some way: the two convertible coupes, Cooke's teal convertible, the seaplane. In the case of  Cindy's vehicle, he does not kill her; he doesn't treat her like anything other than a warm body. And he rips the passenger seat out of her car in particular.


Cindy provides a comedic foil for Matrix from the very moment she is introduced, but there is never any development of a romantic relationship, or sexual tension; Matrix simply uses her as a means to an end. His interactions with her are clipped, and brusque: early in the film, shortly after we're first introduced to  Cindy, she delivers a hysterical monologue that finishes with, "Are you going to tell me what's going on, or not?" Matrix's response is, of course, "no."  This only emphasizes that Matrix is a man, but he is completely uninterested in comforting  Cindy or even giving her any information.


Bennett (Vernon Woods), conversely, is an extreme stereotype of the gay man: in the words of Woods, Bennett is "Freddie Mercury on steroids," and if he were attired like the biker from the Village People with a chain mail vest for the road. Where Matrix is totally dispassionate about killing, Bennett relishes it, to an extent that Matrix purposefully points out that Bennett enjoys killing a little too much. Bennett's reply? "Your training, John." Later, he goes on to say: "When I found out I'd get my hands on you, I said I'd do it for nothing."


Where Matrix uses the impersonal ranged firearm to dispatch enemies, Bennett's weapon of choice is a fairly large combat knife. Again, this reinforces Bennett being much more intense and personal about killing than Matrix. Whenever we see Bennett walking anywhere, we see him walking in a way that immediately recalls the way the stereotype of the "flamboyantly gay man" moves, and he is constantly brandishing his knife.


Early in the film, when Jenny is being used as leverage to force Matrix to assassinate a democratically-elected Central American (presumably) president, Bennett presses the knife to her throat. He draws pleasure from the experience, but only from the discomfort that the threat causes Matrix. Clearly Bennett is really interested in turning the tables on Matrix, as his enjoyment of being in the position of power is obvious. This desire causes Bennett to disregard an obviously dangerous situation when Matrix begins his attack on the island compound, simply fingering his knife in response and musing: "Welcome back, John. So glad you could make it." You can imagine the twinkle in his eye.


During the attack, Matrix is a nigh-invincible killing machine, but there comes a point where he is outmaneuvered and forced to hide inside a tool shed (he literally hides in a closet for tools!). The weapon that finally wounds him is, unsurprisingly, a ball-shaped grenade. Matrix manages to extricate himself from this situation by bursting out of the tool shed and killing his immediate attackers with whatever is handy: a pitchfork, a machete, and so on. So here we see the first instance of Matrix realizing that maybe he doesn't need to be so detached all the time; maybe the emotion of Bennett's lifestyle has some positives.


The tension between the ostentatious Bennett and the neutered Matrix is more or less the main thrust (!) the film. All of this tension comes to a head (!!) in the climax (!!!) of the film. By this point Matrix has defeated every enemy with guns, but no firearm avails him when he is confronted by Bennett in the basement, who has taken his daughter hostage with a knife; the impotence suggested at the beginning of the film is brought full circle. It should be no surprise at this point that the basement is a steam room, filled with pipes that are constantly dripping moisture, mirroring Matrix's complete toplessness and sweatiness.


A surprisingly competent bit of filmmaking also occurs in the buildup to the firefight, with a statue of what appears to be the Madonna featuring prominently in the frame. Mary, like Matrix, is obviously not a sexual being, despite her parenthood. In addition, there is the obvious connection between the distress of both Mary and Matrix's children.


Despite Matrix taking cover behind a semi-clothed statue of a woman, Bennett manages to wound him with a firearm, causing Matrix considerable distress. As Matrix hides, trying to recover some strength, Bennett taunts him: "Stick your head out. One shot between the eyes." Matrix successfully goads Bennett into abandoning the impersonal gun by appealing to his baser instincts: "Stick the knife in me. Look me in the eye, see what's going on in there as you turn it...don't deprive yourself of that pleasure." Bennett's visible arousal at the thought pushes the subtext dangerously close to becoming text.


Matrix's fear of no longer being the most powerful man in the room is given physical expression when, during their fight, Bennett successfully wounds Matrix with his knife. He then very evocatively licks the blood off of the knife, eyes locked on Matrix. Bennett picks up a loose pipe at some point, and ends up knocked into a chain link fence (remember, he is wearing chain mail as well) appearing to be electrocuted as a shower of (white) sparks shoot everywhere. Instead of dying, he bounces off the fence and clobbers Matrix: "I feel good, John."


But Matrix doesn't give up without a fight; as you might expect, he holds his own well enough that Bennett abandons his knife in despair and reaches for a gun. "I'm not going to shoot you between the eyes," he shouts, "I'm going to shoot you between the balls!" Matrix, thinking quickly, picks up the same pipe Bennett had discarded when he was electrocuted, winds up and hurls it at him. The outcome is an unsurprising impalement, but Bennett is standing directly in front of a large steam pipe, so (white) steam begins to shoot out of the pipe lodged in Bennett. Matrix is Johnny-on-the-spot with a quip: "Let off some steam, Bennett." Really, Matrix, you're the one who did the penetrating.


The film's final shot is Matrix,  Cindy, and Jenny walking toward the seaplane, with Matrix having told his commanding officer that he was done with this business for good ("no chance"). The shot indicates that they're going to end up being a happy family, but the positioning of the characters belies that:  Cindy is next to Matrix, rather than both being on either side of Jenny as you'd expect parents to be. The film, moreover, gives us no indication that Matrix is at any point interested in Cindy romantically or sexually, despite some indications that she is interested--after all, she is really the only heterosexual in the film who is not treated repulsively. No, Matrix is not turning straight, and he and Rae Dawn Chong are going their separate ways.


Matrix's commanding officer told him the truth when he said that Matrix could not escape his own nature, but Matrix's victory over Bennett is Matrix's epiphany: he can be a sexual being but not be dominated by his own sexuality, as Bennett was. More importantly, he can be homosexual in his society and not have to distance himself from his own nature; he does not have to limit or sanitize his own experiences, or lead an entirely sexless life, in order to be a self-actualized person.