It is once again my solemn duty to present the annual Strong Language honors for excellence in swearing, named for our patron saint Malcolm Tucker, Peter Capaldi’s paragon of sweariness as seen on BBC’s The Thick of It, the cinematic offshoot In the Loop, and countless YouTube montages ever since.
This is the fourth time the Tucker Awards have been bestowed on worthy recipients — feel free to take a stroll back in time and peruse the winners of 2015, 2016, and 2017. But as the calendar turns on 2018, let’s get down to fucking business.
Blue Velvet is a film with an enduring power to unsettle viewers. Its unique brand of ‘darkness in colour’ (to borrow Pauline Kael’s phrase) features also at the level of language, with the cornball goofing of its young sweethearts set against the malevolent and compulsive profanity of Frank Booth, played by Dennis Hopper.
For his book Lynch on Lynch, Chris Rodley asked David Lynch if all of Frank’s fucks were in the script or if any were improvised. Lynch replied:
I had many, many, many of them written in the script, but Dennis always added more, because you get on a roll, and you can’t help yourself. And if an actor is locked into the groove so solidly, even if they say extra lines, or not exactly the way they’re written, they’re truthful. And for me Dennis was one of those guys. He always says that I could never say the word on set and that I would go to the script and say, ‘Dennis, when you say this word.’ [Laughs.] That’s not true exactly.
The filmmakers initially passed on Hopper because of his reputation, but the actor persisted and Lynch, thankfully, reconsidered. Without presuming to psychoanalyze Booth – ‘there’s enough material there for an entire conference,’ as the psychiatrist said of Basil Fawlty – we can see in his profanilect* motifs of incest, defecation, and violence, among other things. He swears inventively but also routinely, and constantly.
Enough fucking about. Let’s look at some examples. (Spoiler and trigger warnings ahoy.)
Whoo-ee, 2018 started off with a fucking bang, didn’t it? Right on the heels of our third annual Tucker Awards for Excellence in Swearing drop the juicy profanities in Michael Wolff’s controversial Fire and Fury: Inside the Trump White House.
As excerpts and early reviews ahead of its January 9th release are proving, Wolff’s account—apparently based on over 200 interviews with the president, his inner circle, and other staff conducted over 18 months, much as embedded in the West Wing—is blistering. Trump’s former chief strategist Steve Bannon, of all people, called the Trump Tower meeting with Russians “treasonous,” according to Wolff.
Wolff’s account is also a very sweary one. As Ben Zimmer, who authors our reliably politics-packed Tucker Awards, observed on Twitter:
Zimmer’s right, so let’s highlight some choice examples we’ve seen so far. Bannon clearly positions himself as a Tucker favorite, if Wolff’s reports are confirmed.
It’s become our annual tradition here on Strong Language to hand out awards for the best in swearing over the past year. (See the honors for 2015 here and 2016 here.) The Tucker Awards are named after the patron saint of Strong Language, Malcolm Tucker, the super-sweary political fixer from the BBC’s The Thick of It (and the film spinoff In the Loop), as portrayed by Peter Capaldi.
13 Reasons Why is an interesting, stylish, well-acted, and controversial television series adapted by Brian Yorkey for Netflix from Jay Asher’s novel Thirteen Reasons Why (2007). The series is thick with coming-of-age themes. Profanity is one of them, and it’s all over the dialogue, as you’d expect, but one of its central characters, Clay Jensen (played by Dylan Minette) memorably awakens to both the pleasure and the gravity of profanity in “Tape 4, Side B” (1.8), which aired, with the rest of the series, on 31 March 2017.
As the series opens, Hannah Baker (played by Katherine Langford) has committed suicide and has recorded her reasons for doing so — thirteen of them — on cassette tapes sent after her death to the people she holds responsible for it. That’s a disturbing premise, and some critics found the presentation of it troubling, as well. Clay isn’t one of those reasons, though the tapes are delivered to him, too, and he listens to them, gradually learning what things had been going on in Hannah’s life besides their falling in love, horrible things, things swearing was made to resist and relieve. Continue reading