The Borrowers and the Power of Internal Consistency

I love the series The Borrowers, by Mary Norton. It’s whimsical without being overly twee, it’s exciting, it’s clever, it’s Edwardian with a little modern edge. The illustrations, by Beth and Joe Krush, are clever, detailed, and delightful. How I love adventurous Arrietty and her nervous parents – especially her mother, Homily, who is the most timid member of the family and yet shows the most backbone when push comes to shove. This book and others in the series are children’s books that adults can enjoy – indeed, as I’ve grown older, I find more to love in them every year.

These books describe the lives and adventures of Arrietty, her mother (Homily), her father (Pod) and various other characters who come in and out of the story, both human and Borrower. The Borrowers are tiny, tiny people who live secret lives. They prefer old houses with no pets or children, where there is an abundance of both clutter and routine. They live secret lives, and they don’t grow food or hunt animals or make anything from scratch. They borrow. So when you lose little things – buttons, safety pins, that kind of thing – the Borrowers took it.

The Borrowers has many things going for it but one thing I’ve noticed is that The Borrowers completely commits to its premise and is completely internal consistent. There’s no cheating here. Great attention is paid to how the Borrowers move, how they transport objects, and how they live their lives. This means that even though the premise is outlandish, the reader can commit to it. If there WERE Borrowers, clearly they would be just like this. While each book in the series has a compelling plot, the plot is not what the reader remembers. The reader is more likely to recall that Arrietty’s room is made from a cigar box, and that Homily quite loses her head when she realized that Pod can borrow form a doll’s house when a child comes to stay in the old house where they live, and that Pod climbs curtains with the aid of a pin and “name tape” (a sort of decorative ribbon). Here’s some of the lines about their sitting room:

The walls had been papered with scraps of old letters out of waste paper baskets…On the walls, repeated in various colors, hung several portraits of Queen Victoria as a girl; these were postage stamps, borrowed by Pod some years ago from the stamp box on the desk in the morning room. There was a lacquer trinket box, padded inside and with the lid open which they used as a settle; and that useful stand-by – a chest of drawers made of match boxes.

The Borrowers is also an ode to the importance of creativity and change. The family experiences “a golden age” of Borrowing when they get access to the doll’s house, but it doesn’t make them happy (Pod in particular becomes terribly bored) and it leads them into terrible trouble. They feel safe in the old house, unlike their relatives who all “emigrated” and whose fates are unknown – but in the safe house there is also stagnation. Who will Arrietty marry? Will the Borrowers die out altogether? Taking risks jeopardizes their immediate safety but makes their long-term safety possible. It’s a cozy series about the value of not being too cozy.

There are several editions of course, and movie adaptations, but do get the version with the illustrations by Beth and Joe Krush. How can you resist?

An Interview With Matthew “Novastar” Carauddo


This week’s interview is with Matthew “Novastar” Carauddo, founder of Saber Combat, which specializes in lightsaber classes and performances.

Tell us about your saber combat business – it involves shows, classes, and parties, right? Tell us about what you do!

There are many facets to the goals of, and the actions/work of

One aspect of the work is regarding unique performances that run the entire gamut of staged work, including fight choreography, staging, sound editing/engineering, vocal recording, music, and–naturally–costumes and building LED saber props that are meant for hard strikes and punishment.

An example of one of’s projects is at this link–a complete re-enactment of the famous “Empire Strikes Back” saber fight scene between the two epic heroes we’ve grown to know and love:

A second aspect of SaberCombat’s contributions & work are more about workshops, birthday parties, and special events.  No two are alike as every event has its needs, desires, requirements, and circumstances.

Events can be as complicated as a corporate event with a performance and “saber workshop” for adults in mind:

…or, they can be much simpler (to a point)–as events designed for youth, birthday parties, or martial arts schools. Parents end up having MORE fun than the kids… SOMEtimes… 😉

A third aspect of SaberCombat is… helping OTHERS to do awesome saber combat / staged combat work, in the form of tutorial videos, the SaberCombat fight choreography system (DVD tutorials on the website), and classes.

How did you get the idea to run a saber combat business – and what was your first step in making it a reality?

To be perfectly honest, a lot of it simply occurred “over time”, and in some ways, was simply a subset of my fencing instruction and experience.  The site and business didn’t actually come from one, singular, resolute decision.

Taking a step backward in time, back in 2005, I was brewing upon an idea I had to do an entirely LIVE light saber performance, involving 10 performers all on stage at once, complete with sabers, sound editing, music, vocals, a general story & characters, dramatic staging, and of course… awesome fight choreography.

At the time, I was running a small saber fencing business, and my involvement with anything “Star Wars” was limited to a few video games, the films themselves, and being inspired by John Williams awesome music.  I didn’t even have any kind of “jedi costume”–never had any need.  🙂

But my sudden idea to do a 10 person fight required a lot of behind-the-scenes work, planning, money, initiative, research, and of course… even auditions & casting!  🙂  Also, initially, it was VERY difficult to get or build the appropriate props for actual staged combat, as… at the time (again ~2005/2006), the technology simply wasn’t present.

Nova - Palpy edited by Rosika

The 2006 performance of “Balance of Power” was a huge hit with viewers (Youtube was actually very new at the time!), and it emblazoned me to continue on to… see where the proverbial “rabbit hole” went… 🙂

Over due time, I actually ended up helping to further innovate LED saber props as part of a small “saber community” (which built props on their own, independent of large toy companies)… and even ended up designing some of the first custom “saber sound fonts” that were installed into more present-day sabers.  🙂


Examples of my sound font work can be found here:

More time passed, and I made a simple staged combat tutorial (care of numerous requests from fans & viewers) and released it as a single product for people to learn from.  A year passed, and I had greatly built upon my own basic system, and wanted to share more of it… so I paired up with a local martial artist to film some more in-depth tutorials to become a part of two DVDs–each with several videos entailing how to do high-level staged combat with the right kinds of tools, notation, drills, patterns, training, etc.

Shortly after that, the DVDs and work became so popular, went from being a site “solely to launch the DVDs” into something MUCH larger!  I’d taken my first step into a larger world.  🙂  Well… more like my 4th or 5th step, I suppose…

What’s the biggest challenge in your business?

Lately, the biggest challenges have been tenfold (unfortunately).  I’ve recently run into a lot of health issues–despite my lifestyle being fairly well revolved around fitness and staying in shape.  I’ve had to pour almost every dime I have (which isn’t much, sadly) into two MRIs recently, and… there isn’t much I can do right now except fight through extreme pain, shoulder issues, and so forth.

Finding the RIGHT people with the right work ethic, team spirit, dedication, and true desire to innovate has been very, very difficult!

But, I’m extremely hopeful, as… I HAVE worked with some REALLY great people–really talented individuals, such as my associate Gary Ripper (Ripper Sabers & Ripper Blades), who not only portrays “Darth Vader” in my “Empire Strikes Back” re-creation, but designs and sells some AMAZING acrylic & polycarbonate saber and sword prop blades, all hand-designed.  For more information, just look up “Ripper Sabers” on Facebook… you’ll know his incredible work when you see it.

Ultimately, challenge is a good thing.  If a hero in a film “quit” when things became overwhelming or difficult… he or she would NOT be much of hero, now would they?  🙂

You have a cyberpunk project in the works – tell us about your involvement with that!  What’s the series about, and what’s your role?

Ah, you’re resourceful, and… must be watching my “Novastar” Facebook page!  🙂  I can’t really say all that much about it right now, but here is a video which shows a different side of my work, as… I’m not just a “light saber guy”, my background is varied.  Performance, acting, writing, costuming work, vocal work and electronics fit into many ways of expressing art:

I have since grabbed myself a “long length” leather jacket (only $30–discount store) in order to help the costume & look work better, so… progress is being made.  Stay tuned for more later on!

It’s summer, it’s hot, kids are bored, mom is tired. What movie that ISN’T Star Wars should we watch?

Ironically, since you noted this possible cyberpunk project I may be involved in… instead of a film, how about a game?  An “old” one, but a great piece of work that won “Game of the Year” twice over, if I recall correctly.

The game is “Deus Ex” (2000), the original one created by Ion Storm, made for PCs.  It couldn’t be more than $10 now to buy, and it’s definitely one of THE best games I’ve ever played, winning on so many levels: excellent gameplay / skill trees / RPG elements, excellent music, excellent storyline, perfect ambiance, great characters… it’s the way a game is supposed to be made!  Not just “shoot everything in sight” like they seem to be doing these days.  🙂

Here is a short animation where I was able to voice the “J.C. Denton” character.  I’m hoping to do more with this, too:


My only final thoughts would be… whatever your passions & dreams are–keep pursuing them.  I realize that this is cliche’, but here’s something important I will add to that…

The most difficult part about pursuing your dreams & passions is the fact that you are going AGAINST the grain.  Society will prefer to push you toward ITS desires, and let’s face it: when 1000 voices are telling you to “go left” when your heart tells you to “go right”… you question yourself, and sometimes–it’s MUCH easier to just stop listening to yourself.

You have to also do the WORK though, too.  🙂  Nothing good comes without dedication, consistency, and weathering the proverbial storms & tsunamis that life often casts your way.  When the storms come–you mustn’t stay there, you must fight THROUGH them, and as the old quote goes… “keep going”.

“When you’re going through Hell… keep going.”  –Churchill

Hawkeye Vol. 4: A Great Conclusion to a Great Run

I’d like to thank Hawkeye Vol. 4 (Rio Bravo) for making me cry at the public pool. No, really. The other moms didn’t think it was weird at all. Jeez.

Since 2012, Matt Fraction and artist David Aja have been writing a Hawkeye comic for Marvel. This comic tells the story of “What Hawkeye does when he’s not Avenging.” Hawkeyes, AKA Clint Barton, adopts a dog, he trains his protege, Young Avenger Kate Bishop, (she gets several issues of her own drawn by Annie Wu), he fights with his ex, he drinks too much, and he gets beat up a ton. What makes this run so great is that Clint, on his off hours, isn’t trying to save the world – he’s trying to save his apartment building, and getting his ass royally kicked in the process.

This run is never gimmicky, but it’s often experimental and meta. There’s an issue (#3) in which Clint decides to sort his trick arrows. For complex reason, he and Kate find themselves in a car chase with one bag of arrows – Kate grabbed the un-labeled trick arrows on her way out the door. Hilarity,. mayhem, and a lon, long payoff joke ensure. There’s an episode in which a great deal is communicated via sign language, and an episode in which Clint dreams that he’s a character in a kids’ TV show. Above all, there’s an issue that takes place entirely from the point of view of the dog (Lucky, known to fans as Pizza Dog). In this issue( #11), people talk over Pizza’s Dog’s head, but the only words we see are ones Pizza Dog knows (I was impressed by “Collar stays.” How, I wondered, would the dog know what collar stays are? He doesn’t, bu the words are legible because he knows “Collar” and “stay.”)

Here’s a short and incomplete list of reasons I love this run – the last volume just came out and I can’t urge you enough to run out and buy all four and have a glorious binge. I didn’t even like Hawkeye before this run. It’s a jewel among comics.

  1. Pizza Dog.
  2. Everything else on here should be Pizza Dog.
  3. The Russian Gansters who inexplicably say, “Bro, bro” all the time. In Hawkeye’s dream, Hawkeye is a dog and the Gangsters are wolves who say, “Dog, dog.”
  4. Clint’s brother Barney.
  5. Kate Bishop. LOVE HER. LOVE HER ARC.
  6. The humor.
  7. The heartwarming stuff
  8. Everyone in the apartment and how they use Clint’s TV because he broke the satellite dish (with an arrow)
  9. Boomerang arrow.

As is so tragically often the case, io9 says things much better than I do in their post “6 Reasons Why Matt Fraction’s Hawkeye is One of Marvel’s Greatest Comics” by James Whitbrook. So go read that, and then read Hawkeye. Or skip to Hawkeye. Because Pizza Dog, Bro.

Between the Lines Book Club: Truly Weird Adaptations of Crime and Punishment

between the lines book club logo

In Sacramento, CA? Join us for an in-person discussion of Crime and Punishment tomorrow (Aug 22, 2015) at 10:30 AM at Arden Dimick Library!

Unlike some other classics, there’s no single iconic adaptation of Crime and Punishment, although there are a few movies and once might sound Law and Order as an adaptation that’s very long-running. While there may be no adaptation that is iconic, there are several that are just plain weird. Here’s some of the bizarre things people have done with the novel:

Proving that everything is better with Batman: Crime and Punishment Batman comic!

This spoof, from the collection Masterpiece Comics, tells the story of Crime and Punishment with Batman as the main character. In this version, Batman decides to take the law into his own hands – murder and angst ensue.

Teen Angst: Crime and Punishment in Suburbia (Film, 2000)

This movie has a 21% rating on Rotten Tomatoes. It tells the tale of a teen girl who is attacked by her stepfather and plots to kill him with the help of the school quarterback. When she’s accused of the murder, the weird outcast high school kid with a crush is the only one she can turn to. This seems to be a love it or hate it movie.

Because Les Miserables wasn’t depressing enough:

Crime and Punishment is being made into a musical. I’m just going to drop this here and back slowly away.

Wednesday Videos: WWI and the Birth of Modern Fantasy

WednesdayVideoAnd now for something completely different…a video that includes me!  I gave this presentation, “The War that Launched a Genre: WWI and the Birth of Modern Fantasy” at Sacramento Public Library.  I had a great time, and you can tell that I thought the topic was “really interesting” because I seem to have said so about once every five minutes. The presentation includes discussion of “The Battle of Dorking”, H.G. Wells, Charlotte Perkins Gilman, modernism, C.S. Lewis, and, of course, Tolkien.

Warning: it’s long, and if you take a drink every time I say “really interesting” you’ll be unconscious in the first thirty minutes.

Why I Care About the Sad Puppy Hugo Mess

Worldcon starts this week and I sure wish I were there – hello friends at Worldcon! Hug David Tennant for me if you see him! Seriously, last year at this time my entire Facebook feed was all my friends hugging David Tennant and oh lord, the envy, it burns.

This is, of course, the year of the Sad Puppies, and I want to talk about why this issue matters to me, why I feel passionately about it, and why I would hope that people I perceive as my friends would feel just as passionately as I do. I see the Sad Puppies as a problem not only because they have hurt and angered a lot of Hugo fans this year, but because they are part of a larger pattern of pushback against traditionally marginalized groups who are moving into the mainstream in a variety of fields.

The Hugo Awards are science fiction awards that are voted on by fans. Fans have to pay a fee (currently $40) to vote. It’s a normal practice for individuals to put out a blog post suggesting that their followers consider certain works. In 2015, two groups, the self-named Sad Puppies, led by Larry Correia and Brad Torgersen, and the Rabid Puppies led by Vox Day, conducted an effort to stuff the ballot with a specific slate of nominees (a move which was legal but unprecedented in scale and coordination for the Hugos).

The Sad Puppies have two major complaints about the state of science fiction awards today:

  1. The Sad Puppies feel that their preferred sub-genre (hard military space opera, adventure) is no longer the cool genre. In particular, they feel that “fun” science fiction/fantasy (SFF) has been replaced with “Social Justice Warrior” approved, cerebral, experimental, and political SFF on ballots that are monopolized by a leftist science fiction fan elite. The Sad Puppies view the science fiction of the 1960s, 1970’s and 1980s as an era of “fun” science fiction (a nostalgia that ignores the presence of more cerebral and experimental genre fiction during each of those decades). They feel that not only is their preferred brand of fiction disappearing, but that it is being co-opted by different social and political viewpoints. In his blog, Sad Puppy co-founder Brad Torgersen writes:

A few decades ago, if you saw a lovely spaceship on a book cover, with a gorgeous planet in the background, you could be pretty sure you were going to get a rousing space adventure featuring starships and distant, amazing worlds. If you saw a barbarian swinging an axe? You were going to get a rousing fantasy epic with broad-chested heroes who slay monsters, and run off with beautiful women. Battle-armored interstellar jump troops shooting up alien invaders? Yup. A gritty military SF war story, where the humans defeat the odds and save the Earth. And so on, and so forth.

These days, you can’t be sure.

The book has a spaceship on the cover, but is it really going to be a story about space exploration and pioneering derring-do? Or is the story merely about racial prejudice and exploitation, with interplanetary or interstellar trappings?

There’s a sword-swinger on the cover, but is it really about knights battling dragons? Or are the dragons suddenly the good guys, and the sword-swingers are the oppressive colonizers of Dragon Land?

A planet, framed by a galactic backdrop. Could it be an actual bona fide space opera? Heroes and princesses and laser blasters? No, wait. It’s about sexism and the oppression of women.

Finally, a book with a painting of a person wearing a mechanized suit of armor! Holding a rifle! War story ahoy! Nope, wait. It’s actually about gay and transgender issues.

Or it could be about the evils of capitalism and the despotism of the wealthy.

Do you see what I am trying to say here?

Our once reliable packaging has too often defrauded our readership. It’s as true with the Hugos as it is with the larger genre as a whole. Our readers wanted Nutty Nuggets because (for decades) Nutty Nuggets is what we gave them. Maybe some differences here and there, but nothing so outrageously different as to make our readers look at the cover and say, “What the hell is this crap??”

Regardless of whether Torgersen’s perceptions about science fiction in years past is accurate, his concern is not that science fiction has changed, but that the people he perceives as being published are representing world views that he is at best not interested in and at worst hostile to – and those world views are being presented in the mainstream market, instead of discreetly shelved as LGBT fiction, or Women’s Studies. In the words of Geek Girl contributor Heather Thayer,

The Puppies are a problem not because they prefer a certain sub-genre, but because instead of simply advocating for this sub-genre, they complain about what they view as the encroachment on their territory by people who are different from them and have a different point of view.

  1. As a group of mostly white, conservative men, the Puppies feel they are no longer the cool kids in science fiction. They feel they are shunned for their perceived religious and political views, and that this not only subjects them to discrimination at conventions but also ensures that their work will not win awards. Larry Correia, in a frustrating but admirably polite exchange with George R.R. Martin, talks about being nominated for a Hugo and then feeling unpopular at Worldcon:

So I mostly hung out with the Barflies, because they were cool. But I can hang out with Barflies at fifty other cons where I’m not assumed to be the second coming of Hitler because the Internet said so. And while I hung out with them, I got to hear how many of them were shunned for various reasons too.

Then I went to the award ceremony, and the parties, and the various schmoozefests, and I discovered that the Hugo Awards were like one great big In Joke. And the cool kids told their cool stories to the other cool kids, and lorded it over those who weren’t part of the In Joke. Honestly, it reminded me of high school, and I was the poor fat kid who had inadvertently pissed off the mean girls.

Listen, people like the Sad Puppies come and go. In a few years, no one will care about them. But they are still a problem. The reason the Sad Puppies are a problem is that they are part of a pattern of push-back that happens when women (and people of color, and LGBT people, and other traditionally marginalized groups) are perceived as moving into white male spaces. This is happening in, among other places, the science fiction community, gaming, science and technology fields, and the Atheist/Skeptic community. Some people welcome the increase of diversity in these spaces. But some people say, “HEY! This is the place where I am finally on top of the social heap! Who are all these people coming in and acting like they are my actual peers? I’m losing status! I’m losing privilege! I’m being crowded out of the pool!”

Of course, the frustrating thing about this is that most people will adamantly deny that they are misogynistic/homophobic/racist. I’d actually rather deal with someone like Vox Day of the Rabid Puppies, who is transparently racist, sexist, and homophobic, than someone like Larry Correia, who complains that people dislike him because of his beliefs without wondering if maybe the problem is that his beliefs are oppressive and offensive to much of the human race. Correia and Torgensen are adamant that they are neither racist nor homophobic nor misogynistic, while referring to the 2014 Hugo’s slate as “affirmative action.” (For the record, I’m a huge fan of almost everything and everyone who won a Hugo in 2014. Here’s the list.)

Most people who push back against minorities won’t state their bigotry as openly as Rabid Puppy Vox Day, who is somewhat infamous for making incendiary comments about various groups. Instead, they will voice more coded complaints, but ones that are clearly based in their fear of losing privilege and status. For instance:

  • Cons are overrun by fake geek girls. All these women who keep coming to conventions now aren’t true geeks.
  • Women complain about harassment over every little thing. I don’t see why they are so easily offended.
  • All the awards/panel spots/publishing contracts are given out to people who don’t look like me; it’s a plot because their work is clearly not as good as mine.

The mistake these people make is in believing that they are entitled to something. No one is entitled to an award, or a contract, or a seat on a panel. The Sad Puppies and people like them are so used to a playing field that favors them that if other people get on the field they think it’s unfair when it’s actually just a tiny hint of parity. Heather Thayer points out that the 2014 Hugo slate that attracted the wrath of the Sad Puppies is hardly monopolized by minority writers:

I agree that the winners were diverse, but was the slate “dominated” by diverse writers, or was there simply a fair representation of all writers (including white males)?

Let’s look at it:

The Novel category was two women and four white men.

Novella (won by a white male) was again two women and four white men.

Novelette (won by a white woman) was two women, an Asian man and two white males

Short story: Asian male, two women, and one white male.  Okay, that one is “dominated” by diverse people, but nothing out of whack with demographics.

Of course, I cannot comment on LGBT diversity based on a picture, but looking at who the white males are for most of the categories, I think I can safely say that the slate was not overrun by gay white men.  And oh yeah, if a person is a gay woman of color, that doesn’t count as three – that’s just one diverse person.

The point is that the Sad Puppies BELIEVED that the 2014 list was “dominated” by diversity.  But it wasn’t.  It was simply “diverse” – including plenty of white male (or space opera) representation. In fact, both Larry Correia and Brad Torgersen were nominated, so they certainly had someone to vote for.

Evidence suggests that these people are not victims in terms of professional success. Larry Correia, for instance, made the New York Times Bestseller List in 2010 and 2011, and was nominated for a Hugo in 2014. George R.R. Martin, in his conversation with Larry Correia, did an epic takedown of the notion that marginalized people have suddenly taken over. But what if previously marginalized voices did take over? What if Larry had to say, legitimately, “No one reads my books anymore?” Well, that would be too bad. I’ve heard good things about Correia’s writing (I’m completely unfamiliar with Day and Torgersen’s writing). But tastes change, the market fluctuates, and no one has to buy anyone else’s’ book. No one is entitled to market success. Which is why being a writer can kind of suck.

So why not just ignore the Sad Puppies? Because the Sad Puppies are part of a bigger picture and sometimes that picture is ugly at best and deadly at worst. The Sad Puppies are part of a culture that includes Gamer Gate (a separate movement) and its followers who use trolling, harassment, doxxing, swatting, and death and rape threats in an attempt to intimidate people, usually women, to stop talking about sexism in the gaming industry. The Puppies, while not affiliated with Men’s Rights Activism, are also part of a culture of threatened privilege and entitlement that make MRA groups popular. At best, this is a culture that discourages women, people of color, and people who identify as LGBTQIA from participating in fandom (and the sciences, as well as other professional and fan communities). At worst, this larger culture is physically dangerous. Women, LGBTQIA people, and people of color are victims of discrimination, harassment, and violence on a regular and highly disproportionate basis, at cons, online, at home, and in the workplace. This shit is real.

The Sad Puppies aren’t advocating violence in any way – all they want (this year) is for their slate to win a bunch of awards. But they are part of a culture that is both enraging and terrifying. There are serious consequences when a privileged group furthers an agenda of exclusion, paranoia, and victimhood because they see that their privilege ebbing away. I take their campaign personally because the Sad Puppies have attempted to make me feel unwelcome in a space (science fiction fandom) that is my home. I don’t mind sharing my home but I do mind being told I can only live in a corner. The Sad Puppies have embarrassed a community that has worked hard to battle bias and hate speech and harassment within its own ranks. They have contributed to the alienation of multiple groups of creatively diverse people who have wonderful things to share. They have contributed to a culture of fear and bigotry in a community that has been fighting so hard to become more welcoming and equitable.

I don’t know what to do about the Sad Puppies, but here’s what I do know – please don’t say that you don’t care. You should care. Keep a sense of proportion – in immediate terms, the Sad Puppy debacle is not an issue of life or death in the same sense that, say, reform of the justice system is a matter of life or death. But I do believe, strongly, that the Sad Puppies’ efforts to hijack the Hugo’s contribute to a culture which is actively, violently dangerous to women, to people of color, and to people who identify as LGBTQIA. The pushback reflected in Sad Puppies, the sense of fear and victimization because of a perceived loss of privilege, is the same pushback we see in so many violent crimes and institutionalized injustices. The Sad Puppies are a tiny, whiny drop in a bucket – but it’s our bucket, SFF community, so it’s our job to deal with it.

Full disclosure: As if I didn’t already have enough reasons to dislike Vox Day he attacked the other webpage I write for (Smart Bitches, Trashy Books) because he felt we were acting as “thought police” for objecting to a romance novel in which the heroine (a Jewess, saved through faith in Christ) falls for a Nazi concentration camp commandant being nominated for an award. So there’s that. Honestly this is the least of my reasons to dislike him, but if it comes up, hey, you heard it here first.