Sometimes looks are less deceiving than you’d think.
The Franks and Beans media push is go! We’ve got an ad in the recently printed, recently released and recently mailed-to-me sixth issue of The Magic Bullet, a Washington, DC-based large format comic newspaper. The Magic Bullet is a semi-annual publication that is given away absolutely free to thousands of eager readers, and also perhaps to crazy people who want to make hats out of it. Here’s the cover!
You may, of course, be wondering just what demographic Franks and Beans was trying to reach by advertising in a DC metro-area free comic newspaper, but this is the result of some pretty heavy market research. And also I published a one-page comic in it, titled “The Naked Man at the Edge of Time”:
And then, you know, things just kind of came together.
You also might be asking if this ad buy has had any effect on the site’s traffic. Well, not that it’s any of your business, and it’s kind of rude for you to inquire into such structurally sensitive matters, but as a matter of fact, there has been a slight bump in the numbers in the last few weeks. This might be a result of the ad, or it might just means that Franks and Beans is slowly working its way into the zeitgeist and the ad was completely unnecessary. But there it is, for all to see. It’s not the only mention that F&B is getting in a publication, as it turns out. I’d tell you about that now, but I can totally just make a brand new post about that in a couple days and feel good about updating the site more than once a damn month. And what fun that will be!
Visit the Magic Bullet online here: http://magicbulletcomics.blogspot.com
Buy a copy (hang it up on your fridge!) of The Magic Bullet #6 here, for only 99 cents: http://dcconspiracy.storenvy.com/products/1352276-magic-bullet-6
Oh, and the Magic Bullet website has a nice outgoing link to this very page. Hooray!
One day, either Larry or I (probably not both at the same time) will have a job that we will be unceremoniously fired from for the above image. I imagine myself called into an executive office, high above the bustle and din of the New York City riffraff. I’ll be escorted in by a no-nonsense, 34-year-old receptionist (other role: to run after an angry client yelling, “Sir, you can’t go in there! I told you, he’s in a very important meaning! I’m sorry, Mr. Peterson, I tried to stop him!”) with bangs and full-length sleeves as the man in charge, a straight-laced William Daniels-type character who stands by the floor-to-ceiling windows, peering out over the landscape that he feels a part of as much as his own family, folds his hands behind his back and waits, exuding the power that befits one of his position.
“Sit down, Mr. McClelland”, the silvery gentleman will say to me, if it is indeed me who is employed in this corporate giant that I am apparently destined to join, despite having no background or interest in business. Unsure of the nature of this meeting, I sit but nervously shift in my leather-bound seat. “I want you to do something for me, Mr. McClelland.”
“O-of course, sir,” I respond, my pulse rising as I adjust my uncomfortably constraining necktie, my actions giving away the uncertainty I feel, the quiet desperation I keep inside bubbling to the surface. Still looking out of his window, a private balcony on the other side, he responds. “Turn around my computer monitor, if you would.” The words are spoken with a cold courtesy.
“The monitor?” I stammer, unsure of the purpose to this exercise. “Yes, the one on my desk,” he answers, a hint of frustration welling up in his voice. I lean over the desk, kept neat and tidy in a manner that belies the many responsibilities that are dealt with there. I notice a picture of a dog, a cup full of golden paperclips and a hastily-written phone number of one “C. Clinton”. I take hold of one of the corners of the paper-thin monitor and slowly swivel it toward me, and I see the picture. The Franks and Beans “Naked Chicken Dead” picture.
“S-sir, I…I can…” I begin, trying to formulate a response that can explain the purpose behind the all-male, all-nude scene. “I expect,” Peterson answers before I can finish, “that you’ll have your desk cleared out by noon. Security can see you out.” He then turns, for the first time, from his position overlooking the city. In a moment of introspection, a crack in the foundation, he removes his glasses and looks at me – and through me. “You know, Mr. McClelland, I was just about to make you partner. But now…” his voice trails off, the rest left unsaid, and he turns back to his window, his city in the clouds. An elderly, uniformed man enters and I leave, my shoulders slumped, my dreams dashed, my career in a spiral from which it may never recover.
In other news, IT’S OUR 39TH EPISODE! NAKED CHICKEN DEAD! And what a fun, unique episode it is. Despite a few issues, I think that it’s one of our best. It’s got shock value and lots of strange humor that really sings to me. It may not flow or have the plot that some of our other well-recieved episodes do, but what this episode lacks in plot it makes up for in punch and effect.
There are a few things to note about this episode, starting with the “please stand by” graphic. This is, of course, a slightly altered image that was once commonplace for stations that would go off the air at night, of which a solid tone would be played over. Larry and I are just old enough to vaguely remember that this would happen on a few stations, though this particular graphic is a few more years before our time. If I had my way, I probably would have just left it as is, but Larry pushed to have our pictures overlaying the image as well, and it does have a certain effect that makes it work, I think.
Both of the pictures we used were taken at the wedding of none other than longtime fan Mark Moncheck. I’d show one or both of them, but I’m fairly certain that they also contain Larry’s girlfriend in them, which means they will never be posted to this site. As an interesting aside, Larry, Mark and I also began filming an episode the night of Mark’s wedding (at the reception, even), but due to certain restrictions, such as the fact that IT WAS MARK’S ACTUAL WEDDING, the episode was never finished despite having a pretty good joke attached. Maybe one day we’ll release the footage as something of a “lost” episode.
In this episode, Larry and I fall back on some of our traditional themes – namely, nudity. There’s something inherently funny about naked people in different contexts, especially when there’s a censor bar present (though I’m unsure as to why it takes up nearly half my body in the scene). Everything else plays upon this absurdist theme, with chickens and death following in a pretty natural order.
If I had one issue with this episode, it’d be in the sound quality of the voiceovers. I suppose that sound recording is my biggest source of consternation with the series in general, as the in-camera microphone often doesn’t cut it. It’s sometimes especially noticeable when we’re recording voiceovers. There are times when it works perfectly, but others when it’s a real hindrance. I’d love to get a shotgun microphone for the camera and maybe one day we will have one. Watching this episode, though, convinced me to address the voiceover problem, at least, and a few days after I posted the video to this site I went out and bought a desktop mic…I’ll show pictures of that shortly – I’m pretty happy with it and I think that it’ll bring a better audio quality to the show, at least in some capacities.
There’s an embarrassment of riches on display when it comes to this episode, and the “NO!” ending is no exception. Taking a cue from…well, Hanna-Barbera cartoons in general, Larry gives his best overly-expressionist performance in this great sequence. Music and sound effects can really add something that might not come across otherwise. Audio isn’t something that we think of very often when we consider some of the programs we watch, but I think it plays a bigger role in our enjoyment than we might think or realize.
Well, that’s it for this time. Back to my nudity.
Franks and Beans would like to apologize for the following episode.
Originally Posted 5.17.10
Much has been made in my comments on the last few episodes of Franks and Beans on the subject of parody and just where it fits in with the concept of comedy. While I’ll qualify my claim by saying that when it comes to parody, there can certainly be too much of a good thing, but as a general rule, I’m comfortable with making the assertion that all good comedies have at least an element of parody in them. Really, I defy anyone to name a good comedy that doesn’t have some parodic content to it.
Let’s take a recent example and look at last year’s comedy smash “The Hangover”. While certainly laying its own groundwork, where would it be without its nods to “Rain Man” and “Three Men and a Baby?” Going back 20 years to one of my favorite movies, “UHF” is chock full of parodies, musical and otherwise. If you really want to go back to the early days of film, all you have to do is look to the Three Stooges – lost among the eye pokes and face slaps is a parody of the social class structure that 1930s and ’40s America was struggling to break free from. I don’t claim that Franks and Beans holds much of a candle to any of these cinematic gems; I merely want to point out how important a concept such as parody is to comedy in general. When used properly, it’s a tool that really can’t be matched, because parodies are built on information we’ve already assimilated into our own cultural lexicon.
Self-parody is just another form of this type of comedy, and our wonderfully self-referential 30th episode, “Rip Off”, plays right into this concept. What separates self-parody from regular forms of parody, though, is devotion. Self-parody doesn’t come along without a substantial store of very specific material. While parody lives off of the never ending supply of popular culture, self-parody relies completely on the singular body of work it parodies. Franks and Beans could have its ever popular “No!” endings from the first episode, and we did, because we’re mocking overplayed cliffhangers and those have been around as long as there have been cliffs to hang from, but for us to use self-parody, we had to have enough material to serve as a solid foundation. Thirty episodes in, the result is “Rip Off”, an ambitious and context-laden episode that, in many ways, highlights some of our better moments while making fun of everything we do.
“Rip Off” welcomes back old friend of the show “Hardcore” Mark Moncheck, who is getting sincerely less hardcore the longer I know him. Seriously, the guy’s married, has a steady job, gets regular haircuts…it’s a misnomer, I tell you. The perfect role for Mark in any episode of Franks and Beans is that of the obsessed fan, because it’s not much of a stretch from who he is in real life. Sometimes I think that Mark, Larry and I are the only ones who watch Franks and Beans – perhaps I’m not too far from the truth with that thought – but even if that were the case, Mark has the enthusiasm to simulate dozens and dozens of viewers. Hell, it got him a recurring role on the show, so I guess it’s working out for him, too.
Joe Kromer is new to the show and, at ten years younger than both Larry and myself, newer to life in general. Another fan of the show who was granted entrance in through our golden gates, Joe has since disappeared from the face of Brownsville, never to be seen again. Seriously, I have no idea where to find this guy. For a one-time character, though, he sure picked a memorable episode, and did a decent job with the “next time on Kielbasa and Kraut” line. It probably took us all of five minutes to come up with that new title.
One of my great joys in working of Franks and Beans is writing lines that other people – of their own free will, mind you! – speak and act out. Recreating the episode “The Sandwich” scene for scene, as short as it is, was great fun, even more so because we were using different actors. Mark’s take on the “No!” ending was especially fun, because Mark couldn’t – for the life of him – not burst through the door of the room without looking really excited. He was just playing it natural, I guess.
The premise for this episode is fairly simple – Larry and I find people stealing our ideas, and we decide to kill them, but then we end up doing the same thing they did in the first place. Violence, another great comedic element, certainly has its part in Franks and Beans the series, and perhaps never is that more evident than in this episode. I’m not sure how effective our out-and-out “I’m gonna kill them!” lines were – you’re supposed to show, not tell, after all – but even those served as means to an end.
Speaking of killing, Larry’s poor, wounded Jeep has finally been put out to pasture, though it still has a few more appearances before we give it its proper sendoff. One of the reasons for its demise, however, might have come from the filming of this episode. If you look for it, you’ll see it – as Larry is frantically backing up out of his driveway, the car makes a grinding sound, a thin waft of smoke can be seen, and then it kicks into gear. I’m not saying that the Jeep wasn’t on its last legs as it was, but…oh, how we suffer for our craft.
The house Larry and I eventually burst into, breaking up the beginning of the famous “Mustache” sketch (keep an eye our for fake F&B’s crappy camera in the background…because they’re filming another rip off episode, not just going about their daily lives in a way that just happens to synch up with an episode of Franks and Beans), is actually Larry’s grandmother’s house. We knew that we couldn’t film their scenes in Larry’s house (“the studio”), and our other options were fairly dim, and I think this new setting worked out really well. It didn’t look like a house an 80-something-year-old woman lives in, did it? That’s the magic of Hollywood, baby.
The fight scene that ensues was fun to do – so much fun, in fact, that I apparently had a hard time not smiling the entire time I’m physically assaulting Joe. You can look at this in two ways: either I am a sadistic bastard who takes joy in causing others physical pain, or I should really be more aware of what I’m doing as I’m acting out a scene. Pick your favorite! It’s like a “Choose Your Own Ending” tale where one choice covers up my mental lapses. The ‘punching’ sound effects make their return in this episode – they’re favorites of mine, and, for better or worse, I use them in a good handful of upcoming episodes. There’s just something about them.
Tearing up a comic book is something I never thought I’d do – I’m more of the bag and board type – but I have to admit, tearing up the Punisher 2099 issue I bought for, oh, 15 cents or something ridiculous, was lots of fun. It was like eating the forbidden fruit, only you weren’t REALLY eating it, because it was just for a show. I hope that Stan Lee doesn’t revoke my Merry Marvel Marching Society card. Yes, those exist.
The real humor in this episode takes place after the big fight scene, which is unusual for us. Usually the punch in the face IS the joke, but this time it’s in turning the tables and doing exactly what we got so mad about in the first place. I think it works, and even the line “I can’t find the Internet!” is pretty amusing. We’ve set up the possibility for future conflict as Mark, nursing his black eye with a frozen bag of peas (a popular television remedy), expresses his hate for us. Perhaps we’ll look back in on this theme one day, if only we could find Joe to make it happen.
Big props go out to Larry for all of the design work he did this episode, most notably the Funny or Die website parody “Laf or Perish”, which he created from electrons in the air. It got me thinking that we should buy the domain name http://www.laforperish.com, but that’d be foolish. Unless it’s be a BRILLIANT MARKETING TOOL! Hmmm…
How could we top this blow-out-the-walls episode? Why, it’s simple – with nudity. Really, it had to happen. Ever since iChat and its level of success (it continues to be the one episode everyone remembers), it was only a matter of time before we brought the big square censor bar back, and its effect is obvious. Seriously, you didn’t think we’d do it eventually? Well, here it is.
There’s a line some people should never cross. Based on “true” events!
Even more confusing than usual!