Sad Sandler

I went to great pains to explain to my friends my dislike with Adam Sandler, or at least with the roles he ends up with, or the films he starred in. The Cobbler confirmed the patterns, even tropes, that Sandler has been involved with in his entire career: it starts with a forlorn or existentially depressed character who, by some stroke of luck, finds a device to dramatically change his life for the better. He will face a conundrum of sorts that will give the film enough fodder to get to a much-deserved happy ending.

The only way to end the trope from happening, I realized, is to end the movie. Past Mamplasan exit we've experienced turbulence and the DVD player didn't work after that. The film froze, and it did at the very frame where Sandler was out in the snow, looking despondent about the death of his mother.

It reiterated the value of endings, the way Carver and Frederick Barthelme does it, as well as this interview of Donald Barthelme by George Plimpton. Endings, at least for me, should catch you where you didn't see it coming. (I prefer dying anywhere away from a hospital bed.) Recently I've been obsessed about endings--writing about death, about my aging Dad, about the ending of Donald Antrim's The Emerald Light in the Air, a short about an old woman's death by the pedestrian lane, and even a post about my own death, just in case.