I just dash these off. Superficial bullet-point analysis for the most part. It’s a good way to keep track of what I’ve seen, for year-end lists, of course, but also for future reference. I also always love the discussions on such a diverse list of films/TV.
Feud, Episode 6, “Hagsploitation” (2017; d. Tim Minear)
I’m sorry my New York Times gig is over. It was a lot of fun re-capping Feud. Not a perfect series but with so much to think about and discuss – especially for true-blue Davis/Crawford fans (maybe even more so Crawford, since her reputation took such a hit with the book by her ingrate daughter). Jessica Lange gave the performance of her career in Feud. Here’s my re-cap for episode 6.
Feud, Episode 7, “Abandoned!” (2017; d. Helen Hunt)
Pretty bleak and brutal ep. Here’s my re-cap.
Dead Ringer (1964; d. Paul Henreid)
You know Paul Henreid was Victor Lazslo in Casablanca. He also played opposite Bette Davis in Now, Voyager, helping to create one of the most memorable and sexy moments in cinema (a moment that started a trend): putting two cigarettes in his mouth and lighting both, one for him, one for her. He and Davis remained lifelong friends. He directed from time to time and he directed her in this, done in between Baby Jane and Sweet Charlotte. Davis plays identical twins (a gimmick she had done before back in the 40s.)
Strait-Jacket (1964; d. William Castle)
If you have not seen this movie, what can I say. You are missing out on a wonderful and COMPLETELY unique experience. This was the film that Crawford did in between “Baby Jane” and “Sweet Charlotte.” I covered it in that re-cap. Not to be missed. It includes one of my favorite film gestures of all time:
The Manchurian Candidate (1959; d. Richard Condon)
One of the most paranoid movies ever made. Also one of the best films about the reality of the kind of brainwashing that POWs experienced. It was the work done by psychologists trying to re-program those who came home from the Korean War after being in captivity that began our real understanding of mind control, which is now the basis for understanding cults and helping people get out. ANYWAY. Angela Lansbury steals the whole damn thing. A truly magnificent performance.
Win It All (2017; d. Joe Swanberg)
Meh. My review.
Hidden Figures (2017; d. Theodore Melfi)
One my top 10 last year. This is my first re-watch. Once again, I wept during the opening scene. And I just took it from there. Great film. Taraji Henson’s performance, if anything, is even greater than I remembered. A throwback. To a 1940s women’s picture. A Bette Davis part. She is brilliant.
Treasure of the Sierra Madre (1948; d. John Huston)
You know, I block out just how nasty the themes of this film are. Incredibly bleak outlook on humanity. What greed does. Bogart is brilliant. (My friend Farran Nehme wrote a wonderful essay on Tim Holt for Film Comment.)
Some Came Running (1958; d. Vincente Minnelli)
God, this film is gorgeous and Shirley MacLaine is heartbreaking.
Shattered Glass (2003; d. Billy Ray)
I was having a discussion with a friend recently about plagiarism and our fascination with it. And how repellent we find it. This led to stories of fabulism, and outright sociopathy – like Jayson Blair and Stephen Glass. I LOVED this movie when it first came out, and I was one of those people who watched the Stephen Glass thing go down in real time. Long story short, as someone who was working in the burgeoning tech-bubble of late 1990s New York, it was extraordinary and exciting to me and my tech friends that “one of us” – a WEB WRITER – basically cracked this whole thing open. We couldn’t believe it! I was fascinated in particular with Stephen Glass because of his sheer brazen audacity. None of this would have happened in a more technologically savvy era. It went down in the brief “moment before,” when there were still people – even media people – who rarely got on the Web. Peter Sarsgaard is brilliant in what could be a totally thankless role. Hank Azaria is amazing. Hayden Christensen is so good. It’s an amazing film.
Supernatural, Season 12, Episode 17, “The British Invasion” (2017; d. John F. Showalter)
I have been over the BMOL since they appeared so even the TITLE of this one was a turnoff. I am so un-attached to this season that when they toss around the name “Kelly” or “Dagon” it takes me a second to even remember who they are talking about. Can you imagine? These are major characters, they are the reason for the entire season. Mick is not compelling enough to take up that much space. But it was good to see Eileen again. However, it wasn’t developed. One side-eye from Dean does not a development make. Come on, people, build some tension from episode to episode, and NOT plot tension. EMOTIONAL tension.
Dogfight (1991; d. Nancy Savoca)
One of my favorite movies. I can’t even count how many times I’ve seen it. It always works. Welcome to the second longest-running thread in my site’s history: Matt Zoller Seitz and I Discuss Nancy Savoca’s Dogfight. People are still finding that 2011 post and commenting. And the FIRST longest-running thread is this post from 2008, which, who the hell could predicate THAT, I certainly didn’t guess it when I wrote it. Someone put the post on Reddit in a discussion about the book and that’s when the floodgates opened. I read somewhere that this post is a “rite of passage” for those who just finished the book and want to talk. I don’t comment there anymore but I keep the thread open. People still show up from time to time. Back to Dogfight: an extraordinary film, one that continues to move me, no matter how many times I’ve seen it.
13 Reasons Why 13 episodes
I watched the entire thing in 4 days. Which really isn’t the way to watch it. Each episode is so deep and rich and complex (and painful) that it should be lingered over, thought about, processed. Trigger warnings should just be assumed. It’s heavy heavy stuff. But since it’s also a cliffhanger, of sorts, you have to keep going. I am now in the midst of a much slower re-watch, and the re-watch is an entirely different experience since now I know how all the pieces put together. I’m seeing so much more. I have some issues with it, one in particular, but it’s not a fatal flaw. The creators never really worked out why the hell the main kid took so long to listen to the tapes – it strains credibility – but the rest of it is so strong I overlooked it. What I really want to say though is that I am so impressed with this young cast that I barely even know what to do with myself. These are kids, and each character is an EXTREMELY difficult role. Basically you have to cast for the type: jock, nerd, good girl, bad girl … but you also have to cast an actor who is deep enough to go where this series needs EVERYONE to go. These actors blow me away. I am in love with each and every one of them and could not be more impressed. It’s hard for kids sometimes to “gel” into an ensemble. Sometimes an ensemble takes a bit more seasoning. But this is a real ensemble. Each character plays his or her part. Nobody is a “type” after all. And all you nerds out there who say stuff like “I hate jocks” – and think it’s okay – well, first of all, you should be ashamed of yourself. It’s no different from saying “I hate artsy-fartsy types” or “I hate AV Club guys” or whatever. But anyway, that’s a side issue (and a huge pet peeve). But anyway: JOCKS are just as likely to commit suicide as waify young girls reading sad poetry. Maybe even MORE likely because they are expected to have no “soft” emotions. Boys are far more at risk for suicide than girls are, in general. ANYWAY. MY POINT. You meet all the characters and they “present” as types. Because it’s high school and that’s what it’s like. The “popular” kid, the “unpopular” kid, the prissy A-student, the sweet-faced cheerleader who’s nice to everyone, the crowd of dumb jocks … and then bit by bit, episode by episode, layers are pulled away. You just never know what other people are going through. And you should care about it. You shouldn’t just care about yourself. You shouldn’t judge other people: and that goes for jocks judging nerds, but it also goes the other way. Like I said, there are some elements that don’t work for me, and one HUGE part that really holds the series back, but overall, I was so so impressed, especially by the deep thoughtful and complex acting done by everyone in this young cast.
Casey Anthony, 3-part documentary (2017)
I keep trying to quit this sociopath. I was tapped out on Casey Anthony even before she went to trial. And here we are, 10 years later, and I’m tuning in. Screw you, Casey! Plus: you did it. And you don’t care. You are an empty shell of a human being.
Graduation (2017; d. Cristian Mungiu)
Mungiu is one of the best directors right now in the Romanian New Wave and Graduation is his latest. (If you are not familiar with his work, start with 4 Months, 3 Weeks, and 2 Days – but make sure you’re ready. His films are not easy. And then watch Beyond the Hills, which I think is a masterpiece.) Graduation is devastating, in that slow creep of inevitability way – similar to what Asghar Farhadi does in his films. Amazing film.
Get Out (2017; d. Jordan Peele)
Believe the hype. That’s all I can say. I am so happy that this movie has killed so definitively at the box office. GOOD. It’s a great era for horror films, and this one is unlike any other horror film I’ve ever seen.
Heal the Living (2017; d. Katell Quillévéré)
This movie flattened me. It is extraordinarily beautiful and emotional. My review for Ebert.
Feud, Episode 8, “You Mean All This Time We Could Have Been Friends?” (2017; d. Gwyneth Horder-Payton)
The finale. I went and saw it at a huge public screening at Lincoln Center. Ryan Murphy, Tim Minear, Jessica Lange, Alfred Molina and Catherine Zeta-Jones were all there for a QA afterwards. The standing ovation Lange got when she walked onstage wasn’t QUITE as explosive that the ROAR that came at the end of Hamilton, but it was an ovation that kept going … and going … and going … and going (I’m serious) … and going. It was incredible and I felt so fortunate to be there.
Burn, Motherfucker, Burn (2017; d. Sacha Jenkins)
A Showtime doc about the LA riots post Rodney King, but it was really about the history of the relationship of the LAPD and LA’s African-American community. My review for Ebert.
Supernatural, Season 12, Episode 18, “The Memory Remains” (2017; d. Philip Sgriccia)
I cannot believe it is episode 18. I honestly don’t remember much of this season. And I’m having trouble remembering this episode. So clearly the memory DOESN’T remain. I feel like the final moment – carving the initials – was in a very nice sweet spot for the characters and their fan base – but in order for the moment to REALLY land you have to have been investing in the characters all along, which this season has not done. Being worried about your legacy has to come from somewhere. Not just random “let’s wind down over beers in the bunker” talk. (The bunker, y’all. I want to torch it to the ground myself.) Just thinking out loud, especially since I just re-watched “Kids are Alright”, which also was about Dean worrying about what legacy (if any) he would leave behind: What if Sam and Eileen had had a romance? A one-episode thing? What if the entire episode had been about that, in the same way “Kids are Alright” was about Dean/Lisa. And what if, of course, it didn’t work out, leaving Sam with regrets, annoyance about his life, worrying about himself. Member the retirement community episode where Sam first met her? That episode TOO was all about “what’s going to happen to us? Will we grow old? Who will we be if we are old?” etc. So there’s a nice continuity there – Eileen maybe sorta brings that with her – and so why not explore that? Leaving Sam with an emptiness when she moves on or whatever. THEN carving your name into the table might have a truly TRAGIC aspect, like hieroglyphics from an ancient world that nobody even remembers. That’s just one idea off the top of my head. Pick your poison. I also don’t like how the demons now explode. I miss demons who had to communicate by slitting the throats of innocent people, and making a “call” through the pool of blood. Not this abracadabra Shazzam stuff. Clearly I will never be satisfied with this season if this is the level I am criticizing, so I will stop now. But there were some good moments here, and glimmers – FINALLY – of the relationship between the brothers.
Blonde Crazy (1931; d. Roy Del Ruth)
I own this one. One of the many Warner Brother pre-Codes that Jimmy Cagney did with Joan Blondell. It’s a really good movie but I haven’t seen it in a long time. In this re-watch it was like I really GOT just how dark this film is, just how sleazy. It’s pretty explicit. Very depressing. They’re so good together.
Supernatural, Season 3, Episode 2 “The Kids Are Alright” (2007; d. Philip Sgriccia)
FINALLY. Re-cap up.
Hysteria (2011; d. Tanya Wexler)
Saw at Ebertfest. What a HILARIOUS film, but spikily feminist too. It makes its points, but it’s never didactic. It’s funny and totally absurd and yes, based on true events. The Victorian-era gentleman who invented the vibrator. Director Tanya Wexler and star Hugh Dancy were both at the Festival. I was on a panel with both of them earlier that morning, and then I did the QA with them onstage after the film. By the end of the day, it was like we were old friends. Well, exaggeration. But enough that Dancy said to me he was sorry he wouldn’t be there the next day to see my film. So freakin’ nice. It was great to see that film in a theatre that seats 1500 people. It was packed. The film really does set its tone from the jump, and never deviates. Not an easy thing. It’s a romantic comedy. Filled with women having orgasms. And alarmed Victorian gentlemen taking notes from the corner of the room. Fabulous. Here’s Ebert’s review.
To Sleep With Anger (1990; d. Charles Burnett)
I had not seen this film. It is extraordinary. Robert Townsend was at Ebertfest to do the QA with Burnett and it was a great conversation. Burnett stayed for the whole Fest and sought me out to talk to me about my film (he wanted to know what camera we shot it on), which was so flattering.
The Handmaiden (2016; d. Park Chan-wook)
Critics raved about this film. Many put it on their Best-Of the year. I had missed it, and I love Park Chan-wook’s work so I was excited. I didn’t really care for it though. It was an HOUR too long. Normally I don’t care about length but when it’s an HOUR too long, and when you feel a sense of dread/exhaustion when 2 hours in the title card “Part III” goes up on the screen, you know something’s wrong. Clearly, the majority of critics do not agree with me. Gorgeous imagery though and really inventive plot. You think you know “whodunit” and … not in your wildest dreams could you guess the machinations of that plot.
July and Half of August (2015; d. Brandeaux Tourville)
The film I wrote. Seen on a screen three stories tall. What a thrill. Review here!
They Call Us Monsters (2017; d. Ben Lear)
An amazing documentary about juvenile criminal offenders doing adult time. It focuses on three kids, all of whom signed up to take a screenwriting class with a teacher who shows up at the prison once a week. Over the course of the class, the three kids develop a story together, write it out, and then eventually – the plan is – that script will be turned into a short film. The documentary is really about the travesty of locking up kids as adults, with no chance for rehabilitation (since the prison system is not about rehabilitation anyway). The three young men profiled here have all done HORRIBLE things. Heinous crimes. But they’re also … boys. Kids. They’re not even adults yet. You get to know them, their families. It was very special seeing this with my sister Jean, who is a teacher of kids just a little bit younger than the ones in the film. She recognized so much of the behavior, particularly in the classroom setting. The director Ben Lear is the son of Norman Lear (who was also at Ebertfest!)
Varieté (1925; d. Ewald André Dupont)
Every year at Ebertfest, a silent film is shown, along with accompanying music by the three-person Alloy Orchestra. Alloy Orchestra creates scores for silent films, innovative and fresh, emotionally connected to the action onscreen. They sit in the orchestra pit at the Virginia Theatre, and make such gigantic sounds for an orchestra made up of only 3 people. Varieté is an extraordinary French film, starring the great German actor Emil Jannings. Varieté is innovative in its camera techniques, and very very influential at the time. There’s one amazing swooping point of view shot: what the audience below looks like to a trapeze artist swinging above. I always love the silent film entry every year, especially since most of them are films I’ve never seen. Here’s an essay on the film.
Elle (2016; d. Paul Verhoeven)
It was the thrill of a lifetime, being in the presence of Isabelle Huppert, someone I consider to be the greatest actress of our time. She leaves everybody else in the dust. When she walked out onstage, she got an ovation like the one Lange had received. I was crying. She is a legend. Who continues to do bold brave new work. I reviewed Elle for Ebert. It was on my Top 10 last year.
Mind/Game: The Unquiet Journey of Chamique Holdsclaw (2015; d. Rick Goldsmith)
Director Rick Goldsmith was in attendance to present this documentary about basketball phenom Chamique Holdsclaw and her battle with mental illness. It’s about the difficulty of proper diagnosis, and dealing with stigma – and this is especially true in the case of athletes (as well as African-Americans). Holdsclaw has become an advocate and activist. She was diagnosed with what I was diagnosed with, and – like me – got diagnosed pretty late. She was a fighter, a warrior, and surrounded by coaches and family members who didn’t understand. Her background was very tough. It’s an important film. Holdsclaw was going to be in attendance but she was in recovery from a foot injury.
Pleasantville (1998; d. Gary Ross)
Boy, was this a treat. I’ve always loved this film. I wrote a piece a long time ago, partnering it with Blast from the Past, two films dealing with nostalgia from very different perspectives. But taken together, they make a poignant starting-point for conversation. Seen now, so many years after its release, it’s pretty clear that Pleasantville is a masterpiece. I don’t use that word lightly. Here’s Ebert’s review. Gary Ross was an amazing guest, funny and personable, and he hadn’t seen the film since it was first released. “I had a lot on my mind when I made it,” he said it. Interestingly enough: when I first saw it, it seemed to be a commentary on nostalgia for the good old days, and how the good old days were only good if you were in a certain demographic. But now, it seems to be a pointed commentary on the time we are actually living in right now.
Norman Lear: Just Another Version of You (2017; d. Heidi Ewing and Rachel Grady)
A new film from the directors of the unforgettable Jesus Camp. This a profile of Norman Lear, a man who basically created our culture as we know it. A man unafraid to take on the huge issues. I mean, there was a transgender character on All in the Family, for God’s sake. It’s a great documentary. Norman Lear is still with us. It was incredible having him there.
Being There (1979; d. Hal Ashby)
My father loved this film, and loved the line, “I like to watch.” Cinematographer Caleb Deschanel (father to Zooey) was in attendance as a guest. The film still plays like a bat out of hell, and I’ve never seen it with an audience. The laughter was explosive. It’s a biting satire, and – again – it’s difficult to watch and not think about our current-day problems in this country. “Chauncey Gardner” was thrown about as a reference point at some point early in the chaotic reign of 45. It is SUCH a funny movie. Here’s Ebert’s review.
De-Lovely (2004; d. Irwin Winkler)
I had never seen this before. The film playing on the final day of Ebertfest before everyone flew out of town. It destroyed me. Mum and I were a wreck afterwards. A lovely film, celebratory and gentle.
42 (2013; d. Brian Helgeland)
God, I love this film. I wrote about it after I first saw it.
Small Crimes (2017; d. Evan Katz)
Some very good things here. Definitely worth checking out. My review for Ebert.
Flames (2017; d. Zefrey Throwell and Josephine Decker)
I asked for and received a link to this extraordinary film from the publicist since I would be missing it at Tribeca. Eventually I will write about it. I am a huge HUGE fan of Josephine Decker’s work. She’s directed two features thus far (Thou Wast Mild and Lovely and Butter on the Latch) and they are almost their own genre. You can’t compare them to much else. One can already say that they are “Decker-esque.” She is a unique visionary with a style that has to be experienced, compelling, haunting, with an eye for details that other photographers/directors would sell their souls to have. Flames is a documentation the love affair with her co-director, Zefrey Throwell. They only dated for 8 months but it was extremely intense and it took them forever to extricate themselves, especially since they had decided to document their relationship and wanted to finish this film. It sounds self-indulgent. Maybe it is. But when your “self” is as interesting as Decker, when your perspective is as personal … then please. Indulge your “self” as much as you like. I can’t stop thinking about this film.
Intervention – a minor marathon
I was so wiped out from Ebertfest I couldn’t really focus on anything the week following. So I unwound watching Intervention, a show that always makes me realize that – contrary to my own perception – I’m not doing too badly.
Buffy the Vampire Slayer, Season 1, Episode 1, “Welcome to the Hellmouth” (1997; d. Charles Martin Smith)
I’ve never seen Buffy, can you believe it? So along with the Intervention escape, I watched the pilot. I enjoyed it. Not sure if I will continue. 6 seasons are quite a commitment. But I really liked it.
The Handmaid’s Tale, Episodes 1 – 3
Been having some interesting conversations on Twitter and Facebook about this. I have not read this book in decades. It blew me away when I first read it. I do love Margaret Atwood, although I think she’s written better books. Cat’s Eye, first of all, and then the unforgettable Bodily Harm. But I think this series is doing a good job of portraying the true horror in Handmaid’s Tale. Visually, it is superb. Terrifying.
Revolutionary Road (2008; d. Sam Mendes)
I need to re-read this extraordinary novel. I remember seeing the film when it first came out, and being blown away in particular by Leonardo DiCaprio. But, of course, it was Kate Winslet who got the Oscar nom. Typical. I thought she was wonderful (although her American accent, as always, left much to be desired.) But it was LEO who stunned. And I already think he is a great actor. He’s fanTASTIC. It was fun to see Winslet and DiCaprio reunited too. Maybe this would be the sequel of Titanic if those two got together, a depressing thought.
Supernatural, Season 12, Episode 19, “The Future” (2017; d. Amanda Tapping)
There were some good scenes here, although Castiel’s purpose on the show has not been clear for 5 seasons now. All he does is fuck up, be self-pitying, lose his angel wings and then – despite the dissipating sense of connection with the brothers – be rewarded with empty “You’re our brother” speeches from Dean. But there was a good scene with Castiel late in the game, but the problem is that Dean’s annoyance with Castiel totally reflected my own annoyance with Castiel (similar to the “I have no purpose” arc of Castiel last season). This is the writers acknowledging the problem of Castiel IN THE TEXT. Like: why are you HERE anymore? And unfortunately, I do not think the actress playing Dagon is very good. Her performance feels lazy to me. I’m sorry. I feel like a starving fan at this point, so I love when ANYthing in the series now allows for relationships to … EXIST. One of the major problems for me is that Sam has vanished almost entirely as a character. It’s a travesty. I am sorry if my strong words hurt anyone’s feelings, those who love what’s happening. I am not trying to tell you that you should feel the way I feel. I’ve read a couple of fan things on Twitter, people who are guessing that this season is “off” because both JA and JP had pregnant wives, and maybe they wanted to take a year off from painful scenes. Bullshit. People who say this have no idea how TV works, and also what it means to be a professional actor of the caliber of these two guys. They’re ACTORS. Nobody is going to sit around a writer’s table with network producers present and say, “Well, our actors have a lot of personal stuff going on, let’s not give them much to do.” Please. This is not how the industry works. The industry is a place for grown-ups. It’s a job, not a therapy session. To me, JA and JP look bored out of their minds. They have not been given anything compelling to do. Pregnant wives or no, they’re actors, they’re not being given stuff to act. As “hard” as the painful scenes are, that’s why they’re in the business. To get an opportunity to do what they do best. What has happened to the series is a result of chaos on the backend, a newbie showrunner, and new writers who seem to understand the LYRICS of the show but not the MUSIC.
Sorry to end this viewing diary on a negative note. It’s been one hell of a month.
//July and Half of August (2015; d. Brandeaux Tourville)//
WHEN DO WE GET TO SEE IT?
//13 Reasons Why//
I’ve heard so many good things, now. But yeah, apparently there’s this one thing – I don’t know what – that doesn’t work. The woman who told me about it is a dramaturge, and she just said it was something in the writing. Do you agree? (if you can answer avoiding spoilers, that’d be awesome). But just like you, she really loved it anyway.
// It’s a great era for horror films, and this one is unlike any other horror film I’ve ever seen.//
I’ll only go if someone is there to hold me: I saw the trailer once on TV and it fucking TERRIFIED me. So much so that I even avoid the trailer, now. I mean, the screencap you posted in The Kids Are Alright is enough to give me nightmares.
Will I get nightmares if I watch it?
//Elle (2016; d. Paul Verhoeven)//
Finally saw it!
I’m… ambivalent about it. Very. I too, really love Isablle Hupert, and that’s saying something because I have a problem with “French acting.” I can see why it enrages some women. Some stuff I really hate (the whole “he was a man with darkness, poor guy, but you and I loved him for what he was” or whatever? Ew. No. Nope. Nooooo.). But I love the character’s fearlessness – I mean, she’s human, and she IS scared, but she decides not to let that govern her life. She is traumatised, but she finds some sort of agency. Too often to my taste, when it comes to topics such as rape, it seems women can only be portrayed as “perfect victims.” Well guess what: life is more complicated than that, women are diverse, our reactions are diverse, and we have more layers that what is usually shown. To me, it comes back to that conversation we’ve already had: acknowledging being a victim of something does not mean you are weak, or broken, or forever traumatised. It defines what happened, it does not define YOU as a person. And I loved seeing that in Elle.
Then, there’s this complete absence of apology or self-pity in the way Huppert portrays her. She’s so unsympathetic at times, and Huppert does not care if we don’t like that character. That’s so bold! And she gives no sort of explanation about it, she’s very opaque. I love that so much.
// Buffy the Vampire Slayer […] . Not sure if I will continue. 6 seasons are quite a commitment. But I really liked it.//
It’s actually 7, but who cares? Please, please, please continue! Its influence on SPN is so huge. I’m actually thinking of re-watching it.
SPN…
I don’t think I even want to talk about it, at that point – I’m so upset. I know some people have found some good stuff in it lately, but I haven’t. Jessie and I discussed engraving the initials, for example: I might be the only one, but I HATED it. Just like using (very poorly) the Colt. They haven’t EARNED it, so to me, it just seems like they thought: “how can we pull the fans’ heartstrings for cheap? Let’s make a list of the greatest hits of the first seasons. THAT’ll work.” Lazy. And so superficial, too. I had the same hopes as you when Eileen showed up, and then… nothing. And that would actually be a nice way to explore questions that have been there since the very beginning: can you be a hunter and have a relationship? Can Sam have that “apple-pie life”? Is there an alternative? (yes, there is, with Eileen. Oh yes, I ship it). Instead, they fuck up nice tables. Stupid.
And yes, burn that place to the ground. With Castiel, Crowley, Rowena and all the British in it. And even add Mary, since you’re not even exploring ONE OF THE CRUXES OF THE SHOW.
For fuck’s sake.
Lyrie –
In re: 13 Reasons Why – I’m curious what your friend said! I haven’t read the book so I don’t know what happens in the book – but in the adaptation, they drag out one element – through the whole 13 episodes – putting off the narrator’s facing up to something – and it doesn’t make sense and makes it look like the character has no memory of his own life. “What did I do??” he asks a million times – when if he would just listen to the tapes in one go, he would know. But he doesn’t. They made this choice in order to keep the tension up, to have this main character (who is the lead, our “way in”) figure out the truth in fragments, one fragment per episode. But it doesn’t quite work. I am curious what your friend said was the problem!
But the acting is just so good, and the handling of different issues – social media bullying, how girls are sexualized and punished for it, labeled sluts, etc. – is sensitive and good. I also liked that Hannah is not perfect. There were many MANY things that she could have done differently too.
I definitely think it’s well worth watching!
In re: Get Out:
It may give you nightmares. It’s truly disturbing.
In re: Elle:
// Too often to my taste, when it comes to topics such as rape, it seems women can only be portrayed as “perfect victims.” Well guess what: life is more complicated than that, women are diverse, our reactions are diverse, and we have more layers that what is usually shown. //
I so agree with this!! I was interviewed on a podcast recently and we discussed Elle and the vehement dislike of the film from many female film critics – and I said something along the lines of, “If there had been a scene where she sobbed in a friend’s arms over the violation, would these people have put their stamp of approval on the film?” It’s reminiscent of the vicious response to Chrissy Hynde’s memoir where she described her own rape in a way that did not pass muster with these social-critic-Tumblr-feminist clowns. They ripped her to shreds. A rape survivor and they ripped her to shreds because she did not use their approved language. Drives me NUTS.
// the whole “he was a man with darkness, poor guy, but you and I loved him for what he was” or whatever? Ew. No. // See, I saw that as a critique of that attitude, not an endorsement. Paul Verhoeven is extremely critical of religion – and Catholicism in particular – so I think that wife was part of the critique. The “let’s forgive and indulge this man” bullshit. The stunning fact that she knew all along, and endorsed it, is fucked up in the extreme. But I don’t think the FILM endorsed that view at all. The FILM saw him as the monster that he was (and also that she was a woman who was raised by a monster – his monstrousness was familiar to her.)
In re: Buffy:
// It’s actually 7, but who cares? // hahahahaha I will continue! I know how influential it was – on SPN and everything else – so I really do need to catch up. and the passion of its fan base is very compelling!!
In re: SPN:
Cosign.
and now they’ve burned up the Colt too.
I don’t understand what they think they’re doing. This season has been SUCH a weird experience. I have definitely felt with other seasons, “Huh, this one isn’t really working for me” – but I’ve never felt like THIS.
//In re: 13 Reasons Why – I’m curious what your friend said!//
Just that: that something in the writing did not quite work. Given what you’re saying, I wouldn’t be surprised if it was the very same thing.
// It’s reminiscent of the vicious response to Chrissy Hynde’s memoir where she described her own rape in a way that did not pass muster with these social-critic-Tumblr-feminist clowns. They ripped her to shreds. A rape survivor and they ripped her to shreds because she did not use their approved language. Drives me NUTS.//
I know nothing about that case. I wish I were surprised, but really, I’m not. It seems according to some there’s a correct way to react to rape, spousal abuse, abortion, etc… You know who’s fine while women are tearing each other up? …
I’m so angry and disillusioned, honestly.
// See, I saw that as a critique of that attitude, not an endorsement. […] But I don’t think the FILM endorsed that view at all. The FILM saw him as the monster that he was//
I know exactly what you mean, but at the same time, I’m having a hard time agreeing completely. It left me with an uneasy feeling – I’m not certain it’ll be obvious for everyone? I’m not saying it’s a good reason to destroy a movie – geez, we DO need complexity. But in this context… I don’t know. Maybe I’m one of them ” social-critic-Tumblr-feminist clowns.” Ha ha.
To be honest, I wish we could talk about it IRL and not in “public.” But I value your opinion and see your points.
//and now they’ve burned up the Colt too.//
I find everything so forgettable that I had… forgotten! Ugh.
Just a little comment on Bogie in Treasure of the Sierra Madre. I’ve read and reread the mysterious B. Traven’s book 3 or 4 times. Bogie absolutely nailed it bringing Fred Dobbs from page to screen.
Steve – thanks for this! I haven’t read the book. Can you elaborate?
Bogart is so frightening to me in this movie. It’s such a blistering critique of greed.
Well, Sheila, B. Traven is a pen name. Who was he? Unknown, but a google search introduces a few leading candidates. German anarchist? Norwegian guy? American? Jungle explorer?
John Huston’s movie did a marvelous job of streamlining the story and took plenty of dialogue straight from the book, ‘stinking badges’ included. The book has a unique filthy-poverty-in-unforgiving-hot-landscape-meets-greed vibe.
Oh yes, I know who he was – or at least the pen name and the history of him – but have not read the story.
It sounds great.
It’s the kind of movie that makes me yearn for an ice-cold shower, and a canteen filled with cold water. That blazing landscape is brutal.
I cannot believe that you, of all people, have never seen Buffy. I love Buffy (and its spin-off Angel) the way that you love Supernatural (which I have never seen)…although I am intrigued. I often read your whole in-depth posts on Supernatural, without knowing a thing about the show. Your writing is just so good, and I love all your segues. These posts are so beautifully crafted, I often wonder how long it takes to pull one of them off. And I often find myself thinking…”If only she would do a review like that for one of the classic Buffy episodes”. I would literally die of happiness.
Having said that, Season 1 of Buffy (which is only 12 eps because it was a mid-season replacement) isn’t that great, well at least compared to the heights it will attain later on. It’s as if the actors haven’t really inhabited their roles yet and a lot of the lines fall flat. And most of the episodes are downright silly (which some will say is the whole original premise of the show). I strongly, strongly, strongly suggest that you stick with it though. By mid-Season 2, you are into a completely different experience. This is a cultural achievement that informed so much of what came after it. And the creative risks that this show took: For example, “Hush” from Season 4: when Joss Whedon was getting cracks about his snappy dialogue (much snappier than Season 1) and how the show relies so much on the actors bantering cleverly, he decided to write an episode where no one can talk at all. Or “Restless” also from Season 4, which takes place in the dreams of each of the main characters. Or “Once More with Feeling” from Season 6, where the characters have to express their deepest feelings through song. I could go on and on. I definitely believe that you will grow to love this show. Although like I said, Season 1 pales compared to what this show will achieve.
By the way, I have a whole bookshelf devoted to scholarly writings on Buffy the Vampire Slayer. Ha!
//I love Buffy (and its spin-off Angel) the way that you love Supernatural//
There are other shows I deeply, deeply love. But these three! They broke my soul and re-built me. They are now in my DNA. I find there are so many similarities between Angel and Supernatural, although each are very much their own things.
// I often find myself thinking…”If only she would do a review like that for one of the classic Buffy episodes”. I would literally die of happiness.//
Co-signing on this. And yes, Buffy get so much better!
//This is a cultural achievement that informed so much of what came after it.//
*cough*Supernatural*cough*
//“Restless”//
Dear HelenaG, would you like some cheese?
LOL! “I wear the cheese. It does not wear me”.
Thank you for this Lyrie.
//But these three! They broke my soul and re-built me. They are now in my DNA.// Wow! That is so beautiful and profound. Now you really make me want to watch Supernatural, even more so than before, if you hold it on par with Buffy and Angel. I think about BtVS all the time. Even though I haven’t watch an ep in years, I still refer to it ALL THE TIME! When something in literature or film or TV or real life happens, I’m often saying, “That reminds me of the time when Buffy…” And I love Angel equally. I cannot count how many tears I have shed, and how many times I have laughed myself off the couch (I mean, how can shows that are so tragic and so operatic in scope be so damn funny?!).
And what do you think about Firefly? I think it is equally as good, although unfortunately much too short. It never had the chance to develop the way the other two shows did, and I did not think that Serenity did it any justice. A two-hour movie just ain’t gonna cut it.
Buffy: I’m just gonna put the two of you in a room and let you wrestle it out.
There could be oil of some kind involved.
//Now you really make me want to watch Supernatural, even more so than before, if you hold it on par with Buffy and Angel.//
I do! Go for it!
If only because I promise you another one of those experiences: //I mean, how can shows that are so tragic and so operatic in scope be so damn funny?!//
I really love Firefly a lot – I even have a Serenity model, and I’m not a model kind of person (although now I also have a ’67 Chevy Impala :) – but it didn’t have the same impact on me as Buffy/Angel and Supernatural. Maybe if it had been given more time? No, I realise I don’t even believe that, but it’s not that I don’t love Firefly (or Deadwood, or Veronica Mars – other shows on the top of my lit). It’s just that these three are really special to me.
I agree with you re: Serenity. But I’m still glad they got a chance to wrap it up, and it’s not absolutely terrible either. I mean, I’m still waiting for Deadwood to have a proper ending, you know! (another one of my very favourite).
Mutecypher: I find it interesting that of the 7 seasons, THAT’S what comes to your mind! :)
I’m just an interesting guy.
Clearly I have major catching up to do.
Similar to X-Files – with Buffy – I just flat out missed this enormous cultural moment. My only excuse is I was in grad school and had no time to watch TV.
Sheila,
You just reminded me that I started watching Buffy while I was in grad school.
I had never given the show much thought before that point. I remember that I had watched the first episode when it had premiered, and thought it was OK, but not compelling enough to continue watching.
Then, when I was doing my Masters degree in Social Work, I was interning in a palliative care unit of a hospital, which mainly treated Holocaust survivors, and my preceptor there talked constantly about Buffy. Almost every situation we encountered was discussed in relation to how it intersected with the Buffyverse. And when the episode, “The Body” was released, she did not have enough words of praise for how well the show handled the shock of sudden death and initial grief. That really piqued my interest, especially as death, dying, trauma, and grief was something I was immersed in on a daily basis.
So, I started watching near the end of Season 5. I was immediately hooked and bought up the DVDs for Season 1 – 5, watched them all (even though I thought that most of Season 1 was pretty bad), and then watched Season 6 and 7 in real time.
I will always be grateful to a kind, perceptive, and challenging palliative care social worker for introducing me to this phenomenal cultural experience.
I suspect many of the Supernatural devotees cut their teeth on Buffy, as I’m sure you’ll hear about once more people see this post. Season 1 is short and very much introductory; the spine is a little looser but it’s there underneath the high school metaphors/monster of the week. Season 2 is definitely where the show gels and as a youngish twenty something watching it in real time, I was moved to laughter, tears, etc. many times. You have a monstrous (see what I did there?) viewing schedule but if you can squeeze in some time here and there to get you through to Season 2, I think you’ll enjoy it. It’s my comfort food; I’m in my late thirties and watch it start to finish at least once each year. I’d love to hear your insight someday! Thank you for your work. I’ve thoroughly enjoyed it.
I agree–Buffy is well worth it, though like most shows, you have to excuse season 1, as the ideas aren’t really in focus yet. Just hang in til season 2–and wait til Spike shows up! (the extremely hot James Marsters–I think you said? Words to that effect?) He shares some characteristics with Dean, I think–you’ll see what I mean if you get all the way through–
Supernatural definitely was made possible by Buffy, and was influenced by it–but it also quickly became its own thing. Much darker, more cinematic (apologies to Joss Whedon), with similar themes but different takes on them. I actually had a friend start to watch SPN because she knew I was also a Buffy fan, and after a half dozen episodes told me, “It’s so dark! And scary! I thought it would be more like Buffy.”
I have thought–simplifying ridiculously, I’m sure–that Buffy is ultimately about Power. Its spin-off, Angel, for me is about Redemption. I don’t know if I can sum up SPN in one word–maybe Family? Maybe Sacrifice?
You’re right Barb, Supernatural is much darker – although the last seasons of Buffy do get darker. SPN is about so many things… Family is not what drew me in because I’m me, but the question faith /free will/destiny is really what does it for me, I think. One of the best things SPN and Angel have in common is about masculinity.
Oh, and there’s something else, Sheila: one of the producers of Buffy and Angel is Kelly A. Manners, brother of Kim! :)
I think some of the best Supernatural episodes (or, the ones I will single out and watch when I need a boost) are the ones in which they revel in the “goofy”. And that is the general tone in which Buffy lives. Buffy has it’s share of heart break, no doubt. But, the humor is just as important as the horror. It’s not as gory as Supernatural; I can’t count how many times I sat down for a little dinner and Winchesters and immediately regretted it. But, I love both shows!
// I think some of the best Supernatural episodes (or, the ones I will single out and watch when I need a boost) are the ones in which they revel in the “goofy”. //
Tracy – you and me both! This is when the show really shows its colors, for me. It’s also such a great sign of the strength of the underlying structure when a story can “lighten up”, get silly, goof off. Not many shows can handle that.
Lyrie – wow, Kelly Manners? No idea!!
// One of the best things SPN and Angel have in common is about masculinity //
SPN’s playing with and subtle commentary on masculinity was what drew me in too.
It’s indicative of the sheer reach of Buffy’s influence that I – who have never seen an episode – know who Spike is.
Spike! #SpikeSpikeSpikeSpike
Spike is my favourite character. I adore him (and the fact that he’s played by the extremely hot James Marsters also helps). Hotness aside, Marsters is an incredible actor. And Spike’s character arc is really incredible. Every single one of the characters on Buffy (and Angel) grow and change, just like real people do. None of them are stock characters, and when one thinks of where they came from and who they ended up being at the end of their respective shows, it really is mind-blowing. But Spike’s narrative impresses me the most, from his very first appearance in Season 2, the journey he takes to the last episode of Season 7 is really remarkable.
HelenaG, I’ve spent entire nights boring people explaining them just THAT.
Spike and Wesley. Oh, Wesley.
Lyrie, I’m trying to reply to your comment about Wesley, but I don’t see a Reply option link under it. So hopefully, this will land in the correct spot:
Wesley! Another character I adore. He went the opposite way than Spike did, and his arc is just as compelling. From nerd to badass. And the heartbreak he went through! It gouges me just thinking about it.
And both Wesley and Spike sport those British accents. So weird to think that those actors don’t normally speak like that. I thought Alexis Denisof sounded so odd in Dollhouse, speaking like a Middle American. He’s supposed to be a cool, upperclass Brit!
// I’m in my late thirties and watch it start to finish at least once each year. //
Tracy – wow!! I love this devotion!
I will definitely continue and keep you all posted. I love to hear everyone’s thoughts and also hear how much everyone loves the show. It’s about time I figure out what the fuss was all about!
I may or may not have a son named Alexander. So, devotion or mild obsession? Po-tay-t0, Po-tah-to….. :)
Awww, you have a Xander! ♥︎
I was seriously considering naming my first-born daughter Willow, (but my husband vetoed that), so I don’t think you’re the only one. :-)
Forgive me as I go back in time here and add my voice to this chorus.
Buffy has another similarity to SPN in that it goes through an arc and then has to be kind of re-invented with a new focus – SPN’s occurs between S5 and S6 and Buffy’s between S3 and S4 – both points where they could have ended the series and put a bow on it and been satisfied. There was a lot of hating on Buffy’s S4 but, particularly on rewatch, I thought it had a lot of internal logic in how it followed on from the earlier seasons as far just what a pre-destined heroine living on a Hellmouth could actually do/find/experience. It gave the show a broader context while still keeping it centered on its very specific location. And some of the greatest stand-alone episodes come from S4 and beyond.
Again with the comparison to SPN – like others I think SPN is marvelous when it goes to that goofy, more humorous place and then can come back to the drama and the darkness it can do (or did do) so well. To me, the analogue in Buffy is that its natural tone is that goofiness, but then unexpectedly reaches for what I think of as gentleness. Buffy and Giles’ relationship captures a lot of those kinds of moments. The line “You cut your hair” makes me choke up. But there are so many great examples – prom night is a great one…oh hell, I might have to do a rewatch.
And sometimes they use the gentleness for terrible purposes. Giles again, polishing his glasses, a gesture we’ve seen him make for 6 years: “She’s a hero, you see. She’s not like us.”
Anyway, all this to say…you should keep watching, if you have the time. :)
Upon hearing the influence of Buffy on Spn I sought out the “Once More with Feeling” episode and really enjoyed it, but I have not ever watched the whole series. I loved Firefly and Much Ado about Nothing and have become a Whedon fan, so I guess I should dive in like you, Sheila. Kripke has acknowledged his influence on Spn. (In ref Firely and Kripke, it looks like Timeless will become the Firefly of this generation. ?)
As for goofy episodes of Spn, “Clap Your Hands” is top of the list for me. XFiles spoof, crazy fairy lady, Soulless!Sam banging the hippie chick, and the best fight scene in the entire show, Dean v. Tinkerbell, complete with Bowie’s Major Tom – it’s all just the best of the best of Supernatural! And yet… with all that slapstick, it ends with, “You do want your soul back, don’t you, Sam?” That is exactly what I love most about Supernatural!
In ref XFiles I began a rewatch last summer with my daughter to introduce her and we were really enjoying sharing that together. She is due home from college next week and I’ve just discovered that it’s been taken off of Netflix! Arghhh! I can get it on demand thru Comcast, but it’s $2.99 per episode! It’s not Game of Thrones, people! We also have Amazon Prime, but I think it’s a paid program there, too. If anybody knows how to watch it free I would appreciate the tip.
Thanks for the Buffy insights, everyone!
This may not be the most appropriate place to post this, but does anyone else feel like we are in the midst of a home entertainment maelstrom? We are experiencing the death throes of the old, rigidly scheduled, advertiser driven, network programming while Amazon, Hulu, Netflix, and Premium channels vie for supremacy. It is spewing forth so much refuse that the few jewels offered up, become obscured and lost. I confess. I killed Timeless! As much as I loved it and wanted it to be renewed, I dvr’d it so I could watch on my terms and timeline, which, yes, includes ff through the ads! All the tweets to @NBC with #renewTimeless just are not enough to overcome the fact that it was a very expensive show to produce and somebody’s gotta pay for that. I want my newfound viewing flexibility and freedom and I want it cheap. *sigh Dare I say, there’s a similar thing happening with movies going the same way…? I would live to hear your thoughts, Sheila, et al.
I’ve really been struggling with this season. There is just too much going on, with Mary, with the BMoL, Lucifer, the Nephilim… it’s been more like a soap opera than the show I recognize. I’ve really enjoyed individual episodes or scenes and I’ll have to take my comfort there.
// I’ve really enjoyed individual episodes or scenes and I’ll have to take my comfort there. //
Me too. Last week’s episode (?? was it last week) had a lot of things I liked – although I don’t love the witch twins like a lot of people seem to. I mean, they’re fine and adorable, but their magic is so Harry Potter “abracadabra” that it makes me miss the good old days when witches were nasty and bodily-fluids-obsessed. (Like the old lady in the boarding house with her creepy straw man, etc. Now THAT’S a Supernatural witch. The influence of Rowena has not been a good one.)
But at LEAST there was some exploration of relationships.
I miss Sam, though. Sam has really vanished this season.
Yes, I was a little concerned when I heard it was a whole episode about the witch twins but I generally enjoyed its messed up shenanigans. A wickerman mannequin that needs hearts but still might be the one you love but might also be a horrid mind-control zombie is very much in the Supernatural wheelhouse. And Speight’s a good director.
Still the show continues to butt up hard against the limits of reference vs resonance. There’s no deftness or depth or feeling there. It really seems like Dabb just doesn’t care very much about Sam and Dean and why or how they are. He wants them to be some boring-ass heroes we could get from any other show. I feel like renting a skywriter and scrawling above their LA offices STOP TRYING TO MAKE BLOODLINES HAPPEN. and BRING BACK SAM 2K17
//One of the many Warner Brother pre-Codes that Jimmy Cagney did with Joan Blondell. //
Somehow I made to the back half of my 40s without every seeing a Jimmy Cagney movie. I’ve been slowly correcting that, and find myself kind of surprised at the way he’s faded from pop culture.
Dan – I am so glad that many of these Warner Brothers pre-Codes are now available – either streaming or in the box sets that they put out. Cagney basically plays the same character in each one – but he’s just so charming and devilish – and totally unafraid of moral ambiguity. He’s a villain and a hero. You love him but you also recoil. He’s totally amoral. He’s so good!!
Blonde Crazy is great – I highly recommend it. I got it in one of the box sets they put out of Pre-Codes from WB.
Get Out was so, so good. I felt I was witnessing the birth of an auteur while I watched it. We are really living in a period of rebirth for the horror genre: smart, emotional, creative films that are NOTHING like the dreck we were given in the late nineties to early aughts.
(That ‘no, no, no,’ is the most disturbing thing I’ve seen in a movie this year. I will be haunted by her performance for the rest of my life.)
// That ‘no, no, no,’ is the most disturbing thing I’ve seen in a movie this year. I will be haunted by her performance for the rest of my life. //
Me too.
Boy, if anything lays out what racism does, what a racist culture does to those impacted by it … it’s in that character. She is BRILLIANT.
So glad to hear you saw it, Desirae – I was blown away and also blown away by the confidence of Peele in his direction. He knew exactly the story he was going to tell and knew how to pull it off.
and I LOVE the TSA friend.
Is it just me, or is the nephilim plot this season on SPN less Rosemary’s Baby and more Renesmee Cullen?
I am somewhat interested in 13 Reasons Why, but also, as a mental health professional, I have pretty serious concerns about a portrayal of a suicide revenge fantasy – that apparently pays off – geared at teenagers. “Contagious” suicide and self-harm is a well documented phenomenon, especially among teens, and mental health and suicide prevention organizations have issued guidelines for how to portray suicides in the media to minimize that risk, which, from what I understand, were completely disregarded in this series. I’m glad that Netflix added additional warnings. Obviously, they can’t unring a bell, so censoring the series won’t do any good at this point, so anything they can do to mitigate those risks is a good thing.
Here’s a good article that outlines some of my concerns about 13 Reasons Why:
http://www.cnn.com/2017/05/03/opinions/13-reasons-why-gets-it-wrong-henick-opinion/
You know, I agree with all these criticisms and concerns – as well as your own thoughts on it.
I think the presentation of the bullying she received is pretty hard-hitting – and there’s all kinds of commentary about the sexual shit girls face – but perhaps more helpful for educators/guidance counsellors/parents than kids in the thick of it? I don’t know, can’t speak to that. I do know that adults – raised in a different era – seem to have zero idea about how teens use social media, and what an onslaught it is to never ever have a break from the abuse, even at home. I was bullied in middle school and it was brutal but at LEAST once I left the school and went home, I could escape. I was cut off for a brief moment before having to go back into the fray. But kids now face an entirely different monster – not to mention the fact that they are even MORE concerned with “presentation” since that’s what social media is all about. Damaging.
In re: warnings: when I watched it, there were only warnings on the last final episodes, which got increasingly brutal, not just about suicidal ideation but sexual stuff. I’m glad there are warnings in general now. Of course, it’s too late – but at least ignorant parents can maybe have an understanding of what their kids are absorbing and can talk about it with them.
I haven’t read the book so I’ll just have to take the word of those who have read it. While I’m sure a lot of suicide is driven by “I’ll show ’em” or “Let me have the last word” (those were many of my thoughts as a suicidal teen, plus my general exhaustion) … any glorification of that attitude is obviously dangerous. I mean, I glorified it all ANYway, though – because that’s what teenagers do – having discovered The Bell Jar when I was 15, which I read as a How-To practically. I mean, not really, but I was very very attracted to the ideas presented.
I’ve been very frustrated with some of the commentary – one person (a female film critic, who should know better) basically said, “Hannah is too self-confident to be suicidal” – showing that ignorance is RAMPANT, even among so-called liberal tolerant people. How you PRESENT has nothing to do with what’s inside – and NOT realizing that is DANGEROUS for kids. What happens when a gorgeous cheerleader kills herself – because she’s being abused at home, or being everyone thinks she’s a slut, or because she has an undiagnosed mental illness? She gets LESS sympathy – because of her so-called “privilege” – than a mousy quiet girl who “seems” like “the type”? The commentary in response to Prince Harry who spoke out about seeking counseling – “well, he’s rich, he can afford it” was outRAGEOUS to me, and an example of how the “privilege” conversation – albeit important – can be utterly heartless as well as, basically, stupid as shit. Oh, so, rich people have no right being mentally ill or depressed or to seek help? Uh-huh. Okay. You’ll forgive me if I totally IGNORE everything you say on the topic of mental illness, then? I was so happy he opened up about it – his mother was killed when he was a child! Good for him for knowing he needed help dealing with that.
No child – rich, poor, popular, unpopular – should be considered “not the type” or somehow not deserving to get help. There’s a character of a jock in the series – who is seriously in trouble – and nobody gives a shit because he’s apparently at the top of the ecosystem in the high school.
anyway. I totally understand the hesitation and anger suicide experts have about this.
But still. This young cast is incredible. I was impressed from 10 minutes in. If I was, say, 14, 15 … I am not sure how I would have responded. There was one character in the whole thing that I “related” to. The Goth girl who worked at the coffee shop. Not one of the main characters, peripheral – but a clear indication about how some people fly under the radar. I know I did.
But definitely, point taken!
To be honest, I had no business reading “Ariel” when I was 16 – but I sought that out all on my own and read it unsupervised, etc. Not sure if it helped or hurt. It’s lucky I didn’t make any decisions based on the blazing rage that Plath went out on. She got the Last Word, that’s for sure.
What a devastating series. I am absolutely shattered. It’s a powerful, and I believe ultimately a very important story to tell, and I don’t think it glamorizes suicide at all. A lot of thought went into this. It is the opposite of gratuitous. And as you point out, Sheila, the cast is incredible. These actors, so young and with great depth of talent, made each of these characters three-dimensional. I look forward to seeing their future projects. And kudos to Selena Gomez!
It seems to me the series is already accomplishing a great deal, sparking conversations that must be had.
I’m so confused that they’re doing a Season 2 now?? Doesn’t seem right – although honestly I am so invested in all of these characters that I look forward to seeing them again.
But it seems like it would have been better to just let it stand.
Now, like every time I hear about “Dogfight”, I want to go back and watch it again. I wore out my VHS copy of that movie, and recently bought it from iTunes–that ending, the music, those two characters connecting in spite of themselves (or in spite of Birdlace, anyway)–I love it.
I’d love to hear more of your thoughts on “Pleasantville”, too! I think it can be read in many ways. What struck me most forcefully when I saw it–all those years ago–was the question of “what makes us human?” What brings us to life? Love, sex, books, art, taking a stand? I was fascinated in how the answer was different for each of the characters.
As far as SPN goes, “loving” is a strong word, but “enjoying”? “Interested?” Closer. Once again, I want to go back when it’s all over for a re-watch, and see whether/how it hangs together. It IS more plot driven this year, and there have been several episodes driven by the guest stars instead of the J’s. I think that we all want more Winchesters! (I wouldn’t say that the writers were “taking it easy” on the actors–but I do wonder whether the fact that both had children within 3-4 months of each other might have meant they wanted more actual time off, which might have contributed to the focus-switch?)
Get Out FINALLY came out over here so I got to see it on Monday! It was so good. Thinking about how the bad guys’ plot might have actually worked is delivering diminishing returns, but the feeling-effect in the moment has definitely lingered, and those performances and those startling images! And the horror homages and music and blend of moods. Great stuff. So even if the evil plot didn’t make sense logistically it made sense in terms of emotion and desire…it was on that level that the evil was operating. Like it had a desire-structure instead of a plot-structure. I loved that. (what was that piece on Moonlight and black penises and desire that you linked ages back?)