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    Trendysomething in somo

    Literary lead-on: David Sedaris wants what he can't have

    Steven Devadanam
    Apr 29, 2010 | 2:34 pm
    • Is David Sedaris blowing smoke or trying to pick up young writers?
    • Some people are seduced by NPR studs; not me though.
    • Was David taking a cue from Monica Lewinsky in his chosen atelier?

    They say that my generation is one without heroes. I don't know who other people my age look up to: maybe Barack Obama, or Shakira, but probably just Ashton Kutcher and Snookie.

    Personally, I always found inspiration in writer David Sedaris. In high school, I'd cut class to read his books on the upper level at Agora, sipping cheap Greek wine, coughing through packs of Lucky Strikes and taking careful mental notes.

    I never wanted to emulate him. He hadn't graduated from college, had a history of drug addiction and crossed a line of self-satisfaction that I once tried so hard not to breach.

    But in the spring of 2006, I jumped on the opportunity to see him in person at the Wortham Center. After his reading, I spent almost an hour rambling around the underground Theater District parking lot before reemerging to the Wortham lobby to find a still-standing book signing line. I'm not one to be easily star-struck, so I casually picked up one of the for-sale copies of Me Talk Pretty One Day and began reading a favorite chapter.

    Before I knew it, the desk of books for sale had been packed up, the registers disappeared, and I had effectively shoplifted Sedaris' hit volume.

    Already at a total loss as to where my car might be, I decided to wait out the confusion and attach myself to the end of the book signing line. Perhaps because I was very last in line, David seemed to pay special attention to me, asking if I'd attended the lecture alone, and then encouraged me to touch the lining of his sport coat.

    "I got it today on sale at the Gap," he boasted, "but you'd never guess it."

    When he asked what my plans were for that night (it was already well past 11 p.m.), his agent, the only other person in the lobby besides the two of us, interrupted with, "David, that's enough."

    I never had an actual crush on Sedaris — he's much too old — but I was flattered.

    Condom Man

    Yesterday (and four years later), I made a night-of impulse buy of tickets to see Sedaris' engagement at Jones Hall. Remembering my parking lot panic, I hitched the light rail downtown, only to find myself escorted off the train within 10 minutes by a police raid checking tickets. I had, in fact, bought a ticket, but only a credit card receipt printed from the machine.

    After the embarrassing dismissal from the rail car, I explained my innocence and got off the hook, yet was made tardy by the need to wait for the next train.

    Arriving at Main Street Square, I bolted for the Theater District, which led to another close-call with a moving violation citation for jaywalking. Ultimately, it was an enjoyable performance, but I spent a fair amount of the time in my nosebleed seat wondering what I would say when it was my turn at the book signing. After describing the way he'd hit on me when I was just 20-years-old, friends and colleagues had convinced me that I needed to reignite his flirtations.

    I knew I was in trouble earlier that evening when I found myself sitting naked in front my closet thinking, "What underwear would David want me to wear?"

    I'm being facetious (although he holds covetable connections in publishing). Yet somehow, I had high expectations of linking the 2006 missed connection.

    The post-reading book signing line was monumental. I had a nice position in the center, but when I tried to take a picture of the scene with my phone, I got a slap on the limp wrist from a security guard and was escorted to the back of the line as punishment.

    "At least I'll have my one-on-one," I surmised to myself.

    After a two and a half hour wait (and a marathon reading of The Daily Beast that drained my phone battery), I finally was face to face with the lit celebrity. (Of course, this was after I'd caught him giving me "the eyes" countless times.)

    I can't recount our conversation word-for-word, but I'm sure I communicated some amount of charm since he said, "London needs more guys like you," with an uncanny twinkle. (He recently relocated from France to the UK capitol.) He then reached into his National Public Radio tote, retrieved a roll of Trojan condoms, and handed one to me.

    I couldn't tell if this was an invitation or just a subtle way of saying, "You're so handsome, you have no other option than to be incredibly promiscuous!"

    I began to walk away, feeling mildly violated, but mainly just confused. As I turned, he whispered in my direction, "Psst! Do you like my blazer?"

    Had David remembered me and our touch-the-jacket "moment" from so many years ago? I had no way of knowing whether he was referencing our casual encounter or if he simply had a very small repertoire of lines for young fans. He then raised his hand to his forehead and saluted me.

    No, "See you later," "Call me," or "I'm in Room 300 at the Lancaster." Just a salute. And really, I didn't want any more. He had proven himself as fairly unstable, and if there's going to be an unstable person in any relationship of mine — it's going to be me.

    Back at the rail station, it took about 20 minutes to register that Metro was closed for the night. With my dead phone, I walked to Hearsay to have somebody call me a cab.

    "Aren't you the guy ... who was the life of the party at your holiday office dinner?" the bartender asked as he closed shop.

    I may not be an internationally renown self-referential writer, but it's nice to know that in select Houston circles, I have a reputation for fun times. I held my head high as I ducked into the minivan taxi waiting outside the bar. As Elgin faded into Westheimer, we passed the once-beloved Agora, and I thought of a naïve teenaged Steven, enraptured by a strange writer's words.

    Almost instinctively, I raised my hand to my forehead, and with a crooked grin, saluted my former self.

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    Movie Review

    Camp Miasma puts a comedic twist on the classic slasher movie

    Alex Bentley
    Aug 14, 2026 | 3:00 pm
    Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma
    Photo courtesy of MUBI
    Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma.

    The horror genre really ramped up in the 1970s and ‘80s, bringing the slasher subgenre that gave audiences new visuals of gore, but also a reliance on sexism and homophobia that would come to define the era. The new film Teenage Sex and Death at Camp Miasma wrestles with that legacy in ways that are funny, thought-provoking, and downright strange.

    Kris (Hannah Einbinder) is a queer filmmaker who has been hired to reboot the moldy IP that is the Camp Miasma franchise, one that was fresh in the 1970s but which numerous shlocky sequels have rendered irrelevant. In an attempt to get to know the property better, Kris has scored a meeting with the reclusive Billy (Gillian Anderson), the star of the original film who has shunned the public eye for decades.

    Turns out that Billy lives deep in the woods at Camp Rivoli, which served as the location for the first film. As Kris tries to get to know Billy and convince her to be a part of the new film, she starts to fall under Billy’s spell and the lore of the franchise as a whole. That includes believing that the movie’s villain, Little Death — a transgender person who has an air conditioning vent as a head/mask — may not just be a character created for the movies.

    Written and directed by Jane Schoenbrun (I Saw the TV Glow), the film at first feels like it’s going to go the straight-up comedy route, with comic explosions of blood, a strange fascination with candy brands, and a production design that does nothing to hide that the two main actors are on a movie set with painted backdrops. This is backed up by Kris’ phone conversations with her girlfriend, Mari (Jasmine Savoy Brown) and her agent (Sarah Sherman), as well as numerous other details.

    But the film starts to go down the surreal route the longer Kris stays at the camp with Billy, especially when they sit down to watch the original Camp Miasma. An extended sequence shows a good amount of that film-within-the-film, demonstrating why Kris and Billy have a love/hate relationship with the property. For Kris, though, the lines between the film and the real world start to blur, and Schoenbrun uses a variety of out-there elements to drive the point home.

    The final act of the film can barely be described as Kris goes deeper down the rabbit hole, with Schoenbrun using her film to comment on the horror genre as a whole, its treatment of women and LGBT people, the movie industry, and more. All the while the “camp” of Camp Miasma maintains a presence, with candy wrappers showing up everywhere and the tongue-in-cheek references to Little Death (the French term La petite mort, which means “the little death,” is a euphemism for orgasm).

    Einbinder, an Emmy winner for Hacks, is the perfect person to inhabit her role. Her established real-life and fictional personas color everything she does in the film, with her enthusiasm and curiosity shining through. Anderson leans heavily into another reference — Norma Desmond from Sunset Boulevard — to create a character that is as mysterious as she is alluring. Supporting actors like Brown, Sherman, Patrick Fischler, Dylan Baker, and Eva Victor keep the movie at the right pitch all the way through.

    While other films have made fun of horror movie tropes before, Teenage Sex and Death at Camp Miasma finds a wholly unique way of doing so. It’s a funny and daring trip into the psyches of two women who may be victims of their own obsessions, and of the movies that made them that way.

    ---

    Teenage Sex and Death at Camp Miasma is now playing in select theaters

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