he trial of last century is making all the news in Mississippi and nowhere else, as the racially-motivated murders that inspired the film Mississippi Burning are underway after a lengthy ignoring of the whole thing. It took a little time to build a case and find a non-racist jury, but after 41 years, Edgar Ray Killen is being given as fair a trial as the white man's legal system will allow in a Philadelphia, Mississippi court.

The accused killer Killen is on trial for the premeditated murder of civil rights workers James Chaney, Andrew Goodman, and Michael Schwerner, who came to the town to aid in black voter recruitment. The accused was originally tried in 1964, but the jury deadlocked and couldn't decide whether murdering a Negro and two Jews was a crime in Mississippi. "Killer" Killen, as this reporter's just dubbed him, was released and not retried for years, although he was punished then by enduring Southern cooking at a barbecue in his honor thrown by all his Klan kronies.

Thankfully, Hollywood intervened in 1988 with a film about the murders fueled by the performances of Gene Hackman and Willem Dafoe that, while good, no self-respecting black man is going to sit through when they've actually lived the same shit every day. Embarrassed by the liberal ass-tanning, modernized Mississippi began a crusade to re-try Killen and put the killings to rest once and for all.

Since the accusations have resurfaced, Killer Killen has denied orchestrating the murders and downplayed his involvement with the charitable organization the Ku Klux Klan; or at least that's what his lawyer says he has said, the 80-year-old is a bit indecipherable over the loud sound of his wheezing and mumbling. Philosophers only I've talked to suggest maybe Killen will live another 30 years as his real punishment from God, long enough to see black culture completely co-opted by every white kid on his street and allowing black performers to dominate the box office, television, and every station on the radio. And there's always the White House, if God is particularly cruel to the poor peckerwood.

Some fellow good old guys and girls have come to Killen's defense, while denouncing the killings, and say the frail, birdlike man had nothing to do with the horrific murder of people they wouldn't have spat on back then. Among those testifying were other Killens, including Killen's brother and sister-in-law, and several associates with peculiarly pointy hairstyles, like Cricket Beechauser.

"I love Killen," said the comparatively young 75-year-old Beechauser. "Killen taught me everything I know, not that I'm braggin' or nothin'. I'd do anything for him, that's how much I respect Killen—I'd go to jail for Killen. I'd go to hell for Killen, if that's what I had to do. Killen ain't any more racist than anyone here in this courtroom." To which at least the defense agreed.

The only irregularity in the Killen trial came on Friday when an angry protestor in the courtroom objected to the Beechauser testimony. A young white woman stood up and began shouting at the witness, still on the stand, insisting if the Ku Klux Klan liked Killen so much, they deserved Killen.

"Order in the court!" clichéd Judge Marcus Gordon. "If there's any more outbursts I'll remove the defendant. Then there won't be any Killen to shout about."

The prosecutor Mississippi Attorney General James Hood, for those of you who like irony, said the state would win this time against the Klansman.

"This time we will get Killen for these killings—hey! I just noticed how that sounds. Weird. But in all seriousness, my office is seeking the death penalty. And we'd better hurry up because this old Nazi is half in the bag already."

So declare the men of law in Mississippi, where the state motto in racial killings is "better late than never."

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I return from a pretty fun weekend here, folks. The Divine Miss C has just finished her very first DVD commentary, and I can say without fear of contradiction (unless one of you dildos has actually done a DVD commentary for a film you've been in, which I very much doubt) that it was a great experience.

The film was Li'l Poachers, the fantastic adventure film where the six kids get lost in the Florida Everglades and have to fend for themselves against animals and sub-human Cajuns. It was a lot like that Lord of the Flies movie but without all the depressing kid-on-kid violence and half-naked boys. Like if Disney had done that movie. If you remember loving Li'l Poachers and are saying to yourself, "Hey, wow! Clarissa Coleman was in that movie?" Eat me. Yeah, I was in the movie. You know what else, nutsack? I'm in the commentary, too. So there. You can't keep me down.

The DVD production staff got all six of us kid stars back for the commentary—me, Tim T. Toolkitty, Jeffy Smurtz, Franz Golgannis, Pockets O'Shannon, and Dina Frazell, who played the tough girl back then because you couldn't have lesbians in movies. All of us were reunited for the first time in 15 years. It was too bad the director Chummy Styron couldn't have been with us, but as you probably know he shot himself (to death) shortly after the film opened at number one at the box office. Funny, I guess—despite all that success he still said in his suicide note he had lost hope there was any good in the world.

Once we got re-acquainted with each other and knocked back a few brewskis (would you believe only I thought to bring a case of Coors?) we started on the commentary. We had to stop and start over a few times, believe it or not. It looks (or sounds) so easy when you're listening to the commentary at home, when those two or three guys who do that do it, but it's a lot harder than it seems. It took me a while to get the hang of it. Here's some quick tips I learned.

It's not considered good commentary when one of your fellow actors comes on the screen and you say, "Man, you've gotten fat, Jeffy." Also unacceptable: "You looked better as a kid for sure, Franz." I would almost say that my early attempts at commentary made me unpopular with my co-stars, but I eventually got the hang of it.

The proper way to do commentary, they said, is to let the audience in on how the movie was made. So I made several revelations in my next attempts at commentary, things like, "We weren't really in the Everglades at all," and "I think the director had to do this movie because his gambling problem had become so expensive he couldn't make art films anymore." I had other behind-the-scenes information, too, like when I said, "There's the pirate they put in the movie because the studio wanted to make a clone of The Goonies." Apparently, though, discussing the salary everybody got for the movie is some kind of big fat taboo.

I tried "stories," too, little interesting tidbits that the general public doesn't know. I pointed to a tree on the screen and asked Pockets, "Remember when we used to get really high back there before we had to shoot scenes?" Or telling them, "There's where Dina made a pass at me. I was very flattered." Nobody seemed to like my commentary, truthfully, they kept saying they might have to edit a few things out, but you learn to like getting edited in the entertainment biz, at least if you've been edited as much as I have. I bet more than half of the brilliant things I've said off-script have never been used. Or all of them.

As a bonus tip, they really don't like it when you shout out every time you're on the screen, "There I am! Look!" They also really hate it when you're not on screen and you keep asking, "Wasn't I in this scene? Where am I? Why aren't I in this scene?"

In the end, though, despite the fact my commentary might not even make it onto the disc, I would highly recommend doing a DVD commentary for the experience alone, should you ever get the chance. Yeah! That'll happen.

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Things could not be worse, even if I had a head made of cheese in the middle of Amsterdam. Or a head made of pot, if you believe those rumors about our European neighbors. Camembert has fallen in love, making him even more intolerable than usual.

Wait, for as they say, it gets worse. You remember my friend Girl Elvis, who set me up with prescription drugs not long ago, and whose real name escapes my memory? Yes, she's the culprit. Damn her and her sexy manly-yet-feminine sneer, and jaw-dropping rendition of "Suspicious Minds."

As good as her word, she dropped by our Flatbush residence a mere three weeks ago in search of a place to lay her head, expecting I would simply open up my doors because I had made such a promise two weeks before. Audacity aside, I decided to make good on my word, because she looks very strong under those sequined sleeves. I had no idea my life would be turned upside down, and not in a "cute illegitimate kid moves into swinging bachelor apartment" sitcom way.

Instantly Camembert took a shine to her. Perhaps it was that alluring pompadour, or her bassy way of introducing herself when she walks into a room: "Hey, ladies and gentlemen, I'm an impersonator of Elvis Presley." They have to say that now, for legal reasons, she informed me. What man could resist her? Me, that's who. The homoerotic undertones alone have kept me up at nights. But not Camembert, apparently he's exceedingly secure in his sexuality, or some nonsense.

"What do you think of Loretta?" he asked me over breakfast one morning. I launched into an angry diatribe about Loretta Lynn, so-called "Coal Miner's Daughter," before I remembered it was the birth name of Girl Elvis. I then told him exactly what I think of her, that my opinion was strong in no certain direction. "I think she's snazzy," he said.

Disgruntled noise here. He used to think I was snazzy. Or even if he didn't, it was easier to imagine he did when he didn't talk so much. I preferred Camembert when he used to come home quietly from wherever it is he goes and wheels himself into his room, to stay there until I wake him up in the middle of the night to go duck hunting, or whatever escapade has captured my imagination as of late. Now, there's no guarantee he will even be in his room when I want to surprise him! He may be sitting on the couch with his new girlfriend, watching Blue Hawaii. I will not have it. Happiness should not go on under my roof if I'm not getting a slice of it.

Still, I cannot simply kick Girl Elvis out. Again, she looks very strong. I should try to find a way to foil their romance before it begins. I have talked to her about it, and she assures me her intentions are honorable. Or actually, she said, "Camembert… is that the guy who sleeps on the floor in the hallway?" At which point I correct her, no, that's Eugene, I found him in the attic when I bought the house. She insists Camembert or, "that poor little wheelchair kid," is not her type. I think it's all a ruse to further confuse me, and I will not have whatever it is she's making me have.

It's a sad day for Rok Finger when the world doesn't revolve entirely around him and his ever-widening circles. I will command Camembert's full attention once again, or die trying. Or someone might die, at any rate.

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