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    Happy Father's Day

    In new book, Friday Night Lights author Buzz Bissinger details complicatedrelationship with special son

    Tarra Gaines
    May 21, 2012 | 9:23 pm
    • Buzz Bissinger, left, and son Zach
      Robert L. Smith for Houghton Mifflin Harcourt
    • In Father's Day, Bissinger writes frankly about his struggles to come to termswith his son's limitations and abilities.
      Courtesy Photo

    Zach Bissinger is a remarkable man with a remarkable story. At 24, Zach works in a grocery bagging groceries and at a law firm, stocking supplies. He has been classified as borderline “mentally retarded” and autistic, yet he is also a savant who remembers every person he meets in concrete detail and holds the maps of whole cities in his head in minute detail.

    Zach’s father, Pulitzer Prize-winning journalist and Friday Night Lights author Buzz Bissinger, has struggled all of Zach’s life to fully understand and find peace with his son’s limitations and abilities. In a quest for that understanding and connection, father and son set out on a road trip across the country to the places they lived when Zach was growing up.

    For journalist Bissinger, such a story would be hard to pass up and so that trip became a book, Father’s Day: A Journey into the Mind & Heart of My Extraordinary Son.

    "Some people had mentioned they were taken aback at first by the candor and honesty of the book. My response is: 'Look if you’re going to write something like this if you’re not going to be honest about it what’s the point?' ”

    Early in the book, Bissinger describes a blue file drawer where he keeps “the exhaustive summaries of Zach’s condition dating from his birth onward.” This “blue box” full of the documentation of decades of tests and contradictory diagnoses is something that Bissinger rejects as the final word on who is son is and can become.

    When I spoke to Bissinger by phone before the Texas leg of his book tour, I had to ask if is attempting to replace the blue box with Father's Day, and he affirmed it is.

    “This my blue box. It’s a emotional blue box. It’s my attempt without giving him dozens of mental and psychological test to really focus on my son in a very concentrated period of time when we were together and to determine for myself what he’s about and what he can do,” he explained.

    Zach and his twin brother Gerry were born premature, weighing less than two pounds each, but Gerry, as the first-born son, inherited a three extra minutes of air from the world. Bissinger goes into detail early in the book what a difference those three minutes and three extra ounces of weight can make for the brain of a premie, chronicling how, though he struggled, Gerry eventually thrived while Zach was left developmentally disabled.

    When I asked Bissinger how readers are reacting to the brutal honesty of the work, he said, the response had overall been “great,” but went on to note, “Although I do think some people had mentioned they were taken aback at first by the candor and honesty of the book. My response is: 'Look if you’re going to write something like this if you’re not going to be honest about it what’s the point?' ”

    Empathy for Zach will probably come easily for most readers; however, Bissinger’s descriptions of his own inadequacies as a father, and also as a son to his own father, might leave readers less than sympathetic with the father in Father’s Day. Bissinger acknowledges this.

    “If you go on Amazon you’ll find some people who frankly say ‘Zach is perfect and great, but his father is a jerk and brutal to him.’ When I read that I winced because that was not the point. I wanted to show the dynamics of the relationship and what Zach has to contend with as a son,” he explained.

    Elaborating, he said “Part of the book is my journey with Zach and part of the journey is my own personal journey as a man and as a parent and as a father — the things that have shaped me, my relationship with my own father, the price of ambition, my unquenchable thirst for success, my insecurities. All that goes into making me who I am and goes into making me the type of parent I am.

    "I will not deny if I had a more positive outlook on life I think that my feelings about Zach would have been different. I would have been more accepting.”

    "When I wrote Friday Night Lights, in many ways it was a book about mothers and father and sons. Every parent was living through their kids on that football field. It’s not a bad thing."

    Bissinger spends many pages in the book attempting to analyze how Zach’s brain records and processes the world differently from other people. He is able to make that analysis because of the constant documentation he has been doing of Zach’s life, recording their conversations and photographing Zach’s growth and changes.

    When I pointed out to Bissinger that there is a kind of similarity in his obsession to document and Zach’s natural ability to remember concretely the details of the places and people around him, he saw some truth in that saying, “[Zach’s] a reporter. He collects information. That’s what I do for a living, basically. I document. I collect information, concrete information. And that’s exactly what Zach does. . .If it wasn’t for three minutes and he was like Gerry, I have no doubt in my mind that he would be a reporter.”

    While Zach’s circumstances and abilities as well as Bissinger’s relationship with his son are certainly unique, parents who think their children’s lives would be better if only they could be just a little different might see their reflection in Buzz’s story.

    Bissinger observes “All parents live through their children. I’ve seen it so many times in the world of sports. When I wrote Friday Night Lights, in many ways it was a book about mothers and father and sons. Every parent was living through their kids on that football field. It’s not a bad thing. It’s a natural thing. We all have dreams for our kids and we all have aspirations and sometimes they work out and sometimes they don’t.”

    At the same time, any child who has found a some contentment or happiness in life but feels pressure to change or make different choices to please a disappointed parent, might find Zach’s situation all too familiar. Discussing this aspect of the book Bissinger said, “It often happens. The child is content and the child is happy and the child is going about his life, and it’s the parent who is the one saying, ‘Why aren’t you this and why aren’t you that.’ I’m not proud of it.”

    Father’s Day is a loving father’s portrait of his funny, kind, and sometimes amazing son, but it is also the chronicling of an award winning, sometimes controversial journalist, a man who makes his living telling the real stories of people’s lives, finally coming to terms with the true story of his own son.

    “The story with Zach didn’t go as planned. . .The narrative of his life was a hell of lot different than I thought the narrative would be, since my life was all about building narratives. To adjust the narrative of Zach’s life was very hard for all sorts of reasons, none of them having to do with love but having to do with the aspirations I had for him as a parent. Parents do that all the time they want to have the perfect moment in the perfect setting and often the kids are much wiser than the parent and say this is the way it’s going to be. Get used to it.”

    Buzz Bissinger reads at Brazos Bookstore on Tuesday at 7 p.m.

    unspecified
    news/entertainment

    Movie Review

    Meta-comedy remake Anaconda coils itself into an unfunny mess

    Alex Bentley
    Dec 26, 2025 | 2:30 pm
    Jack Black and Paul Rudd in Anaconda
    Photo by Matt Grace
    Jack Black and Paul Rudd in Anaconda.

    In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

    The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

    Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

    Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

    The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

    It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

    Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

    Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

    ---

    Anaconda is now playing in theaters.

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