Thank You, Forgive Me, I Love You: Revisiting Tim Burton's "Big Fish" for Father's Day

Part of the curriculum "Laughing at Life: Exploring Existential Questions through (mostly) Funny Films", these lesson plans--although written for young people, particularly those in recovery--are appropriate for all.

And today's especially for Father's Day.

Here is the link to the lesson plan:

Watch it with the Big Fish from your childhood, and may your Father's Day be one of reward and redemption, all in appropriate measure.

Mother's Day Mash-Up: What if Louisa May Alcott wrote Eat Pray Love?

That's the subject of this first foray into the next unit of the curriculum: "Laughing at Life: Exploring Existential Questions through (mostly) Funny Films".

Whereas the first unit just explored the crisis of existence, this one explores existing in context.

More specifically, this double feature -- one of three lesson plans in the unit -- asks, "What does it mean -- what does it take -- to be family?"

Here is the link to the lesson plan:

Although written for young people, particularly those in recovery, these lesson plans are appropriate for all -- and today's is especially for Mother's Day.

Whether a mom or just someone who has one, may the day be a happy one!

Emma Thompson's Easter Message in Will Ferrell's "Stranger than Fiction"

It’s a book about a man who doesn’t know he’s about to die. And then dies. But if a man does know he’s about to die and dies anyway. Dies – dies willingly, knowing that he could stop it, then – I mean, isn’t that the type of man who you want to keep alive?
— Emma Thompson in Stranger than Fiction

This is the final film from the first unit in our curriculum "Exploring Existential Questions through (mostly) Funny Films", a fitting exploration for everyone, but particularly young people in recovery.

For a free download of the full lesson plan that accompanies this wonderful yet often overlooked Will Ferrell vehicle (in which he is surrounded by Oscar winners and nominees Dustin Hoffman, Queen Latifah, Linda Hunt, and Maggie Gyllenhaal, in addition to Ms. Thompson), please visit:

These first four films (What about Bob?, Groundhog Day, The Fugitive, and Stranger than Fiction) that have been the subject of this and three prior posts, comprise our initial exploration: Existing in Crisis. Next unit: Existing in Context -- exploring existential questions that come up in our relationships with friends and family.

Until then, have fun at the movies, and Happy Easter!

A Fool's Wisdom: Mining Deeper Meanings in "What about Bob?"

For April 1, here's a lesson plan for the one film I teach every student at Newport Academy, coming at the end of their orientation materials for building a bridge between their academic life and their road to recovery.

It's also the first movie in my more comprehensive curriculum "Exploring Existential Questions through (mostly) Funny Films".

As a society, we have been entertained by the wistful Bob's evolution and clenched Dr. Marvin's contrasting de-evolution for 25 years now, but as beneficial as they are, there is a lot more to this allegedly light-hearted comedy than belly laughs. It explores such perennial and primordial themes as winning by surrender, re-imagining our values, letting go of trying to project and protect a false self-image, and, of course, Baby Steps toward our true self.

So Happy April Fool's Day!

Click on the link below for the full lesson plan, find the film on your favorite streaming service (or dust off an old DVD or -- gasp -- VHS tape) and enjoy, whether on your own or with your students. I can guarantee, most of them will never have seen or heard of this movie, but all will find it as fresh as if it was made yesterday -- it has been a favorite among all the films in my class!

Remember St. Patrick's Parade Scene in "The Fugitive"?

The Fugitive.jpg

Harrison Ford wandering through a crowd trying not to be found, Tommy Lee Jones failing to see someone hiding in plain sight, everyone else mere bystanders to a drama that they don't even know is unfolding around them.

Is there an allegory here?

It may not have been intentional, but this early 90s classic is much more than just the (awesome) thriller it was billed to be. It begs us to ask the essential question:

If everything I value is, or is going to be, lost, why bother?

So here's a lesson plan to do just that, from the curriculum "Exploring Existential Questions through (mostly) Funny Films":

These lesson plans can be used by anyone, but were especially created for young people -- 8th grade to early college -- who are in recovery.

Next up, we'll return to comedy to visit the first film in this series: exploring issues of identity, particularly the temptation to project and protect a false self-image, in "What About Bob?"

See you at the movies!

Teaching Existentialism thru (mostly) Funny Films: "It's Groundhog Day!"

Did you know that Groundhog Day star Bill Murray studied philosophy at the Sorbonne and was also selected by the Vatican to solicit jokes from the American public to tickle Pope Francis' funny bone during his first US visit?

Or that the film's writer, the late Harold Ramis, was profoundly influenced by his family's Jewish faith when crafting this classic -- itself a comedic reimagining of Existentialist Philosopher Albert Camus' own re-imagining of the ancient Myth of Sisyphus?

Well, let's not get too high-falootin', but suffice it to say, there is a lot more to this early 90s rom-com than what may at first meet the eye -- and most of us already suspected there was an eyeful there to begin with.

So here's a lesson plan intended for any and everyone, but that I particularly created for and use with young people -- 8th grade to early college -- who are in recovery.

Click on the link below to access the PDF, and feel free to use, share, and come back for more lesson plans I use to "Explore Existential Questions through (mostly) Funny Films"!

Trumped: A Trilogy of Films for the President Elect

[Excerpted from the book in progress: A Year in Prayer]

When I reflect on where and how joy is found—which is not by achieving our foolish aspirations to be like gods, but by realizing that God aspires to be like us, and then further realizing that God did become like us, so that through Jesus God could be with us—what comes to mind is a short conversation I had with a friend of mine who is a Jesuit priest.

My friend had just emerged from an exchange with his (non-Jesuit) boss, who was also my colleague at this particular charitable organization in which we all worked.  My friend was fuming (yes, even Jesuits can get angry and impatient). 

I listened to my friend’s complaints for a moment, and then commiserated, saying, “What I find difficult is that because he seems to compare himself and his work here to Jesus Christ, whenever I disagree with him it makes me feel like Judas.”

My Jesuit friend looked up at me kindly from where he stood on the stairs. “We’re supposed to identify with Judas,” he told me, “it’s the people who think they’re Jesus Christ that I’m worried about.”

* * *

The wonderful comedic actor Bill Murray made what I like to think of as a trilogy of films in the late 1980s and early 1990s that capture my friend’s statement in a way that’s laugh out loud funny.  None of these movies are actually related, except that they all share a theme of redemption, each one told from a different perspective. 

The first of these films I’d like to explore—“What about Bob?”—particularly captures the relationship with our colleague that my friend and I were bemoaning.  It portrays the paradox of finding joy by letting go of all pretenses to perfection; that happiness is not simply a function of what we achieve or attain.

In this film Bill Murray’s character—Bob—is a humorous caricature of every neurosis imaginable, whose insatiable need for validation ultimately pricks the balloon of every therapist’s ego.  Hence at the start of the story Bob has landed—by virtue of a colleague’s cruel deferral—in the office of a psychologist with the ultimate ego: Dr. Marvin.  Dr. Marvin has a thriving practice, a new best-selling book, what he thinks is a picture perfect family, and an upcoming interview slot on Good Morning America that will be shot at his picturesque summer home in Lake Winnipesaukee.   Skillfully played by Richard Dreyfuss, Dr. Marvin believes he is better than most and admired by all; in direct contrast, Bob knows he’s a mess.  However, the key to Bob’s redemption—and the tragic turning point for Dr. Marvin’s gradual unraveling—comes with a few flippant words of advice that Dreyfuss’ good doctor dispenses in an effort to get rid of his annoying new patient, but actually should have heeded himself: take a vacation, Bob—from your problems.  Take a vacation from your Self.

Thus Dr. Marvin inadvertently invites the increasingly intrepid Bob to follow him and his family to Lake Winnipesaukee, where events are set in motion by which the tables are turned: ninety minutes later Bob is in awe with a world that he breathes easily into the interior space that he used to protect, while Dr. Marvin cynically hangs onto the last remaining shreds of his identity, an illusion of perfection that prevents him from seeing how profoundly he is loved by friends and family despite—or perhaps even because—of his obvious and tragic flaws.

In one scene, a banished Bob has hitched a ride with Dr. Marvin’s daughter, Ana (Dr. Marvin named his children Sigmund and Ana after the father of modern psychology, Sigmund Freud, and the daughter he analyzed).  The late adolescent Ana is lamenting having grown up with a father who analyzes everything, who does so from a standpoint that father always knows best, and who—though she concedes his intentions and advice may be mostly good—is ever intent on fixing what she feels may not be particularly broken: namely her.  This entire confession is prompted by Bob—who keeps coming back to Dr. Marvin no matter how often he’s turned away, never discouraged, always as eager for attention as a puppy—when he asked Ana in all earnestness: What is it like growing up with the great Dr. Leo Marvin as your father, having access to a mind like that 24/7?

Ana’s answer?

She doesn’t want to be with the great Dr. Leo Marvin; she wants to be with her Dad.  Bottom line: Dr. Marvin is not fun.  Only a father, as a father, promises joy.  Dr. Marvin’s constant reminding her—and everyone—of all he has achieved and attained may impress, but it oppresses as well.  In order to push himself up, he inadvertently pushes others down, and consequently pushes people away.  Ana feels she is with a doctor who dispenses, not a father who welcomes, who holds, and who listens.

The ever transforming Bob—on vacation from his Self, and therefore filled with newfound confidence—says simply that this is okay, she can get through this, that in time Ana’s relationship with her father will be restored.  He has faith: people are like telephones, Bob tells her.  Sometimes they don’t work.  That doesn’t mean that a particular phone never worked, or that it won’t work again.  As the pre-recorded message for a non-operating number would say, just temporarily disconnected, that’s all.  Try again later.  No judgment, just temporarily disconnected.

* * *

In another of this trilogy of redemptive stories, Bill Murray plays just such a temporarily disconnected individual: Phil, the weatherman for a local Pittsburgh television station.  Whereas Dr. Marvin in What about Bob? had been certain of what he felt was his self-knitted SCARF (Status, Certainty, Autonomy, Relatedness & Fairness), and was consequently completely disassembled when he saw that SCARF so easily unraveled, Phil feels life has not bestowed upon him the SCARF that he deserves.  He refers to himself as “the talent”, calls the news anchor with which he works “hairdo”, and broadcasts to everyone within earshot that an unnamed major national network is interested in him, which will soon reveal how superior he is to his surroundings.  As fate would literally have it, he seems inexplicably sentenced for these sins to the purgatory of repeating the same ‘non-holiday’—Groundhog Day, the title of the film—over and over and over again, broadcasting the same event from the tiny hamlet of Punxsutawney, Pennsylvania.  

Every morning Phil wakes to find himself in the same place, on the same date, with the same tasks before him, and no one else apparently aware that there seems to be a cosmic skip in the record of life. 

However, the movie proves anything but redundant as the gravity of Phil’s situation first dawns upon him and then begins to further unfold, unwrapping layer after layer of his skimpy, scrappy SCARF, already fragile to begin with.  While everyone else goes on blissfully unaware that everything they say or do Phil has heard a thousand times before, Phil begins to feel doomed to live an eternal winter for which spring will never come, as that is what Groundhog Day is all about: if the hibernating groundhog sees its shadow and returns to its hovel on February 2nd, it means that there will be six more weeks of winter; if the groundhog doesn’t return to its sleep it means there will be an early spring—the world will be reborn.   If you have never seen the movie, the parallels between Phil the weatherman and Punxsutawney Phil the weather prognosticating groundhog may seem nonsensical, even silly; indeed, Phil is at first merely confused, but in time the situation proves profound.

Early in the film, sitting at the bar in a bowling alley nursing a beer beside, though not actually with, a couple of Punxsutawney locals—something Phil would never have feigned to do before this fate befell him—he rhetorically asks aloud:

What would you do if you woke up and every day was the same, and nothing you did made any difference?

One of the locals stares straight ahead, as if looking at a movie of his life, and not realizing that the question wasn’t really meant for him, answers, “Yep, that about sums it up for me.”  His buddy nods in sad, silent agreement.

From that moment forward Phil first seeks to take control of, then escape from, and finally abandons himself to his predicament, moving hilariously, yet touchingly, through hedonism to headstrong industry, then despair, and finally acceptance.  In the end he seems content; knowing all the trials and travails the town will endure during this single day, he appears to find meaning in doing acts for others, acts that are truly altruistic, as not only will they need repeating, but they will also be completely forgotten by their beneficiaries in a series of tomorrows that will never come: in the morning it will be the same day, as if his acts of kindness and even heroism had never happened, everyone once again thinking that Phil is the same jerk he has always been, but which he is slowly becoming no longer. 

Out of these small acts of kindness, the SCARF Phil had always felt robbed of and which he has now half-forgotten, he finds embarrassingly bestowed upon him by those he once despised—and whom he now genuinely cares for.  Ultimately Phil finds, and Phil is found by, love—not in grand acts or grand places or grand people, but in his awe at the ordinary.  It turns out that not every day is the same: if we decide to make a difference, tomorrow will be different; we do not need to repeat a string of yesterdays—a new day will dawn.

* * *

Love both flourishes and allows us to flourish in awe of the ordinary, as love makes all things new; love enables us to transform and transcend our yesterdays to embrace a new dawn.

 This is made most clear in what was actually the first of this trilogy of films to be made, a late 20th century retelling of Charles Dickens’ classic redemption tale, A Christmas Carol.  Re-titled Scrooged, in this movie Bill Murray plays the stand-in for the original titular character, Ebenezer Scrooge, whose personality straddles the actor’s other incarnations in What about Bob? and Groundhog Day: slowly Murray’s character is revealed to be, although slightly less of a caricature, every bit as insecure and neurotic as Bob in the beginning, and perhaps exactly what Phil would have become if instead of suffering the purgatory of Punxsutawney PA he had, like Dr. Leo Marvin, achieved and attained everything he felt he deserved.  In fact, in this re-telling, “Scrooge” is a top executive at exactly the sort of major national network Phil had boasted was interested in him.  Re-named Francis Xavier Cross, this “Scrooge” was the youngest such executive in television history; however, time has passed, he’s not so young anymore, and he’s starting to feel the pressure to produce at an ever increasing pace from both the few seniors that remain above him and a young, well-connected upstart snapping at his heels.  Hence he never passes up the opportunity to be the one to apply pressure at the network, snapping at his subordinates, ridiculing roomfuls of yes-men and –women, bullying everyone around him except the higher ups that he both panders to and pities.  The film finds us on the cusp of this character’s crowning achievement: an incredibly crass, live-on-location-from-remote-sites-around-the-globe television special—centered around the story of the Charles Dickens classic—to be shot and broadcast on Christmas Eve, keeping all of his colleagues away from friends and family for the holiday and keeping millions of viewers world-wide focused on advertisers rather than Advent. 

In an early scene, Bill Murray is visited by his character’s younger brother at the network executive’s private gym, located in a suite adjacent to his office.  As the ever-hopeful brother tries once more to convince Francis Xavier to come spend Christmas with the only family he has, Cross scoffs at his sibling’s appeal to the true spirit of Christmas.  Behind the executive, as he pedals furiously atop a stationary bike (a metaphor in itself), we see a motivational poster that looks like a blowup from a dictionary entry for Francis Xavier’s last name:

Cross  •  kr óss  •  n.  something you nail people to

The poster proves prophetic, as does the Bill Murray character’s other appellations—ostensibly in honor of Saints Francis and Xavier, perhaps the two most effective, best known and best loved Christian missionaries outside of the original apostles—for after a harrowing Christmas Eve visited by the ghosts of Christmas past, present and future, Francis Xavier Cross crashes his own TV show, all sense of Self gone (along with his job) as he interrupts the live worldwide broadcast to denounce the life he has led and proclaim over the airwaves and to all the earth his newfound humility and Joy.

“I’m not crazy,” a harried Cross shouts at the camera, knowing how disheveled and unexpected he must appear to his global audience.  His words echo the disclaimer the apostles had to make to the crowds on the day of Pentecost, when the Holy Spirit descended upon them, filling their being and making them burst out in all tongues to proclaim the Gospel.  “I’m not crazy,” Cross repeated.  “It’s Christmas Eve!” he continues:

It's Christmas Eve.

It's the one night when we all act a little nicer.

We...we smile a little easier. We...we...share a little more.

For a couple of hours we are the people we always hoped we would be.

It's really a miracle because it happens every Christmas Eve.

And if you waste that miracle, you're gonna burn for it. I know.

You have to do something. You have to take a chance and get involved.

There are people that don't have enough to eat and who are cold.

You can go and greet these people.

Take an old blanket out to them or make a sandwich and say, "Here—l get it now."

And if you give, then it can happen, the miracle can happen to you.

Not just the poor and hungry, Everybody's gotta have this miracle!

It can happen tonight for you all!

If you believe in this pure thing, the miracle will happen and you'll want it again tomorrow!

You won't say, "Christmas is once a year and it's a fraud." It's not!

It can happen every day! You've just got to want that feeling!

You'll want it every day! It can happen to you!

I believe in it now.

I believe it's gonna happen to me, now. I'm ready for it!

And it's great. It's a good feeling.

It's better than I've felt in a long time.

I'm ready.

Have a Merry Christmas. Everybody. 

If you haven’t seen the movie, I haven’t ruined it for you by revealing the ending: you already knew how it would end without my ever telling you.  We all know this ending.  Since we were children we have felt it; all our adult lives, beneath the wrapped layers of our SCARFs and false sense of security, this ending is our true desire; and as we age, this is the truth that we try to pass on to our next generation: that this is the only ending that really matters.

We try to deny our sentiments, we try to say that such stories are more trite than true, we look at characters such as Ebenezer Scrooge and Francis Xavier Cross and say that in the ways of the world they have become fools, but it can be countered that for two thousand years the words of the Apostle Paul have commended us to become precisely that—fools for Christ. 

It can even be countered that in our own time, in even our own cynical age, to experience Scrooge’s conversion remains our not so secret aspiration: for the past half century—perhaps to date the most increasingly secularized series of decades in the history of mankind—one of the most popular, perennial tales of the holiday season has been “A Charlie Brown Christmas.”  Through this story the illustrator Charles Schulz’s cartoon creation—the child Charlie Brown, embodying at an early age all the faults and foibles of Bob, Dr. Marvin, Phil the weatherman and Francis Xavier Cross rolled into one as he fumbles to find the true meaning of Christmas—every year manages to get millions of people of all ages to sit down and listen (in their own homes, as a family, on commercial TV) to nearly two full minutes of Bible reading.  There is no action, no acting, just the reading of two full repetitions of the Gospel story that people of all persuasions have found to be among the most moving moments in the history of television, or any media:

Charlie Brown sighs, and we feel his plight.

“I shouldn’t have picked this little tree.  Everything I do turns to disaster.  I guess I really don’t know what Christmas is all about.  Isn’t there anyone who knows what Christmas is all about?” he exclaims.

“Sure, Charlie Brown,” replies Linus, his friend Lucy’s little brother, still so young he clutches a security blanket wherever he goes, even here, in public, at the start of the community Christmas play.  “I can tell you what Christmas is all about,” he states earnestly, compassionately, without pretense or guile.

Linus crosses to the center of the stage.  The lights dim, and a spotlight shines on him alone.

“And there were in the same country Shepherds abiding in the field, keeping watch over their flock by night. And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid. And the angel said unto them, ‘fear not, for behold, I bring you tidings of great joy which will be to all people. For unto you is born this day in the city of David a savior, which is Christ the Lord. And this shall be a sign unto you. Ye shall find the babe wrapped in swaddling clothes lying in the manger.’ And suddenly, there was with the angel a multitude of the heavenly host, praising God and saying, ‘glory to God in the highest, and on Earth peace, good will toward men.’”

“That’s what Christmas is all about, Charlie Brown.”


Great Joy.


It is through Jesus that we more than know, more than understand, more than even feel God’s all encompassing desire to be with us; for lack of a better explanation, as with any child, it is through our author and it is with our creator that we are filled with Joy.

The Charlie Brown Christmas special then repeats this for us, making sure it enters our living rooms even if we never enter church, just as it has for television audiences for over half a century:

“And there were in the same country Shepherds abiding in the field, keeping watch over their flock by night. And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid. And the angel said unto them, ‘fear not, for behold, I bring you tidings of great joy which will be to all people. For unto you is born this day in the city of David a savior, which is Christ the Lord.

Have a Merry Christmas. Everybody.


The Year in Review @ notWWJD, YellowHat & RebelYell

All three of Good Counsel's blog streams come together in the conclusion that the best of Rebel Yells retain their power and never seem simplistic or simple-minded despite sharing all the harmonic, melodic and rhythmic attributes of a children's song.

@RebelYellJSWGC: A Musical Offering: Coopted Sibelius and Primitivized Bach

This post picks up on our last one's hypothetical that combining

  • Dagbon drumming from northern Ghana,
  • Morocco's repeated Gnawa refrains, and 
  • Taizé's unifying use of Latin chorales

might be an apt beginning to a new liturgy--one synonymous with a Rebel Yell in its embodiment of the chant Laudate Omnes Gentes: a commandment of two possible interpretations, one "to praise all nations" and a second "for all nations to praise."

@YellowHatJSWGC: Adopting a Name

After five weeks of posts on the "unnamed categories" that cause many children in the US and abroad to languish without families -- without offering any solution other than to identify those unnamed categories so that they may be dropped in favor of calling these children by name -- finally a more positive, personal and poetic response.

@RebelYellJSWGC: All Together Now!

Primitive, classic, ritual, sacred, world.

Through past posts' exploration of these elements we have come to the realization that these musics' shared ethos has brought us to the cusp of where we are with today's post: folk, in the sense that to be at all effective a Rebel Yell must in the end prove communal--a music of and by and for the people.

@notWWJDjswgc: A Breeze from the East: Remembering Boston’s AIDS Care Project, The Home Visit Program – Part 2

This is the last in a series of five blogs about the award-winning public health clinic that the South End News proclaimed this past October, "Despite Closing its Doors...Continues to Heal." Part of that continuation is the survival of ACP's home visit program--yes, physicians who make house calls--in which I served from 1995-1999, just pre- and post-the advent of the protease inhibitors that literally brought so many of our community from death to life. Rather than end a remembrance of ACP on a sad note about its present passing, this piece recalls the moment at which the we first felt that favorable shift in the wind.

@YellowHatJSWGC: Categories Unnamed: Children as Culture War Tokens & Trophies

This is the fifth post in our series on adoption that seeks to name the "unnamed categories" that cause many children to languish without families.

@notWWJDjswgc: A Remnant Remains: Remembering Boston’s AIDS Care Project, The Home Visit Program - Part 1

The fourth in a series of blogs about the award-winning public health clinic that the South End News proclaimed this past October, “Despite Closing its Doors ... Continues to Heal." Part of that continuation will be the survival of some of ACP's home visit program--yes, clinicians who still make house calls--remembered here from my own experience serving in that program 1995-1999.

@YellowHatJSWGC: Categories Unnamed: Children as Assets and Liabilities

This is the fourth post in our series on adoption that seeks to name the "unnamed categories" that cause many children to languish without families.

@RebelYellJSWGC: Revolutionary Ideas: Similar Musical Sensibilities from Moscow Monasteries to Indonesian Courts

As we move from what makes music "classic" to what makes music "world", we discover that it is less their differing scales and rhythms than a shared spiritual sensibility despite disparate influences -- and it is that sacred, ritual aspect that in the context of our contemporary global society constitutes a resounding Rebel Yell.

@notWWJDjswgc: Diaspora: Remembering Boston’s AIDS Care Project, The Hospital Satellite Clinics

The third in a series of blogs about the award-winning public health clinic that the South End News proclaimed this past October, “Despite Closing its Doors ... Continues to Heal." Part of that continuation will be the survival of some of ACP's satellite clinics, which brought the often ancient practices of alternative medicine into the most sophisticated of modern hospital settings. This post explores one of the more humble among those settings, the Living and Recovering Community at Boston's Shattuck hospital circa 1997.

@RebelYellJSWGC: Going Beyond Pärt’s Divide to the Roots of Rebellion

After genuflecting the middle finger with his 1968 Credo, Arvo Pärt used his subsequent silence as time to study liturgical music from the Christian tradition both east and west. Here, intimate insights from a contemporary master of the former tradition suggest that – in the context of the ways of the world – the profoundly peaceful may actually be the most disruptive force of all.