Fire Fire Expensive Pants on Fire
"When my husband and I drove down the street, we both just lost it. But we will rebuild," Evelyn Taylor said. "We're thankful it wasn't our primary home."Discuss.
Stories from the fruits and nuts of the University of California, Berkeley, School of Law (Boalt Hall)
"When my husband and I drove down the street, we both just lost it. But we will rebuild," Evelyn Taylor said. "We're thankful it wasn't our primary home."Discuss.
Labels: Classes/Professors, Court Cases
Labels: Court Cases
Please remember that you may not disclose this information for any other purpose (except applying for a law teaching job) -- to do so would be a violation of the Honor Code.Of course, here's the rule:
3.06 Disclosure of Class Rank Information for Limited PurposesWhat's never explained is why this secrecy is necessary. What good does it confer? Does it prevent law firm empoyers from screening on rank? I suppose that's the theory, but does anyone believe that works? One need only sit through the first two minutes of an interview with Irell (tip to 1Ls: they care about your grades) to know that the interviewer is determining your class rank. While no employer can know someone's rank for sure, seeing ten to twenty transcripts should let them figure things out pretty quick. By now, if they actually cared, the years and years of applications from Boalt students should allow them to have a comprehensive understanding of Boalt student grades. And if they don't care... well, what's the point?
Information about students' class standing shall be made available solely for the purpose of aiding students applying for judicial clerkships and academic positions.
. . .
(D) Other Uses Impermissible. The Dean, Dean of Students, faculty, and students shall not disclose information about class standing provided by the Registrar under this section for any professional purpose other than obtaining a judicial clerkship or academic position. A student who reveals this information for any other professional purpose is in violation of the Honor Code.
Labels: DO, Kevin Smith, Rankings And Associated Bullshit, The Resident Evil
Labels: Rankings And Associated Bullshit
Labels: Law School, Legal Culture
Gay community leaders in California said Friday that they found the notion of a 'gay bomb' both offensive and almost laughable at the same time.I can't add much more to that. (However, I am curious if anyone knows anything about the organization that apparently got the FOIA docs...Berkeley's Sunshine Project?)
Gay community leaders in California said Friday that they found the notion of a 'gay bomb' both offensive and almost laughable at the same time.I can't add much more to that. (However, I am curious if anyone knows anything about the organization that apparently got the FOIA docs...Berkeley's Sunshine Project?)
For me--like a certain cowboy President--I’m tempted to declare victory and go home. I called Meadow’s death last week and I stand by it. That’s how I see the last scene, with the ridiculously heightened tension as we cut again and again to Meadow mis-parking the car. The cinematography draws out the agony and zeroes in on her obviously bad timing (wasn’t it a kind of bad timing that led to her pregnancy, after all?). And then the final sequence—Meadow running into the restaurant, running too quickly, and Tony looks up at her and then—blank. Bad timing into the crossfire. Meadow knew too much--but not about the mob, of course, but how to get out. (“I see how the state can crush the individual,” Meadow says. “
There’s another plausible ending that I just read about that’s growing on me. Quite simply, Tony’s been shot in the head. Remember the last scene from last week? Tony has a brief flashback to being on the boat with Bobby, and Bobby says, “In the end, you never hear it coming.” If the Sopranos is about how Tony sees the world—and the therapy sessions are as close to first-person narration as you can get—then sudden silence and blackness is what follows being killed. The screen goes dark suddenly because so has Tony. This also would help explain the look of shock on Meadow’s face as she walks into the diner. In the end, Tony never heard it coming—and neither do we.
Now I like that. But that shit ain’t the truth. The truth is—as my original Sopranos-watching confederate explained it—is that there are no final five seconds. It’s a meta-ending. The point isn’t that something happened, but that something always can and will. That feeling of dread and uneasy expectation is what Tony has been left with—endless agita. Under fire from family and Family and Feds. But that’s where we’ve been headed all along. For 86 episodes, Chase has confronted us with ambiguity and anxiousness, daring us to sympathize with Tony or take his side. But the “right” reaction from the viewer has never been clear; there’s too much pathos in Tony’s saga to take sides. The moral complexity is the point of the show—declared to comic effect by Agent Harris who, when he finds out Phil Leotrado has been capped, pounds his desk and says, “Damn, we’re going to win this thing!”—a joke on the viewer as much as it is on the FBI. We’re supposed to be confused about whose side we’re on. The point of the last shot is to not relieve us of that ambiguity.
Labels: Rabid Conservatives
Crying out for her mother when she was ordered back to jail, Paris Hilton's cool, glamorous image evaporated Friday as she gave the impression of a little girl lost in a merciless legal system.
The Sopranos has been the best show on television for a while now—even as it declined from the pure genius of the first three seasons. I recently caught a few of the inaugural episodes on a Saturday afternoon on A&E, and though it insults the enterprise to try to show the Sopranos on basic cable (the same goes for Mel Brooks movies and the Big Lebowski), the writing still shines through. What Chase was able to do in the first few seasons—what he lost in the later years—was to tie together a constellation of characters: the cop on the take, Assemblyman Zellman, Hesh, Ralphie, Carmine and the whole New York crew, Big Pussy, Junior in more lucid form. In the last few seasons, all of those plotlines and characters have just—pardon the expression—bled away. The Sopranos universe is emptier. But now, in emptying it out for good, Chase has regained his footing. In terms of comedy, tragedy, and sheer shock value, the last eight episodes have been spectacular, and the series is going out with a helluva bang. (No more, I promise.)
I think most of the credit goes to the writers. James Joyce would be proud of the sheer volume of sly references, allusions, witticisms, malapropisms, and other comedic constructions that fill up an hour of the Sopranos. (The silver medal for the line of the night goes to Agent Harris’s mocking deadpan: “It’s end times, ready for the Rapture.” Gold goes to Tony’s blithe dismissal of Melfi: “You don’t need a gynecologist to know which way the wind blows,” which takes Dylan up (down?) to a whole new level.)
So, how do we think it’s going to end? I read somewhere that Chase hates being told he has to wrap things up neatly, but at this point, there’s a bullet for Tony or a bullet for Phil, right?
Actually, I don’t think so. I think Chase dropped a giant hint in this episode about where things are going. When Sil, Tony, and Bobby sit down at the restaurant to plot their move against
Could it happen? Chase obviously respects the Godfather trilogy enormously, and you can’t go more than a few episodes without some reference. Don’t forget either how, earlier in the season, Tony presided over the baptism of Christopher’s newborn, and then killed Christopher a short while later. That’s
The punchline of Godfather III was that Michael lost those he loved the most—his daughter and Kay (again). It was a fate worse than death. Tony seems set up for a similarly morbid ending. It’s hard to think of a more bitter fate than being left alive with your wife or daughter killed, your lieutenants all dead, your sister a widower, your nephew suffocated, your son suicidal, your uncle broke and crazy, and your business destroyed. Tony is meant to suffer—not to die.
On the other hand, the tragedy of Godfather III centered on Michael’s broken efforts to love the women in his life. “I spent my life protecting my family,” Michael screams at Kay in an early scene in the movie. People get distracted by the plot about the church, but what Godfather III is really about is the ennobling but slightly sinister efforts of Michael to reconcile with Kay and to protect Mary. (I know most people don’t like the third one, but like Massive Genius, I just think its misunderstood.) Michael did everything for his family—and that’s precisely what he lost, dying old and alone with a dog at his feet where his father died with grandchildren at his feet.
The problem with killing Carmela or Meadow is that Tony doesn’t “deserve” such a Greek fate. He’s not a family guy like Michael—he’s an asshole. A misogynist, someone who has betrayed his wife repeatedly and who doesn’t understand his daughter. He’s a bad father and a bad husband. Carmela is emotionally dead already at Tony’s hands; formalizing the situation wouldn't change much. (Note Dr. Melfi’s observation about the “women who continually disappoint” Tony.) Would the pathos be as thick for Tony to lose Carmela as for Michael to have lost Mary? I’m not so sure. But I still think Chase will do it.
That’s my $3080 bet on how it ends, for what its worth. Any other theories out there? I could see Paulie being a turncoat and pulling the trigger on Tony himself. I mean, why else does Phil spare him anyway? Of course he’s “management.” And he’s had it good with Brooklyn since Johnny Sack buttered him up, and don’t forget how Tony came this close to reacquainting Paulie with Big Pussy on the boat a few weeks ago.