12-15-06_2011 & _2012
Sunday, December 31, 2006
Deferent and epicycle (wkp) & via stub for "equant":
Ptolemaic System - at Rice University's Galileo Project goodlooking long article w illustrations
Ptolemy used three basic constructions, the eccentric, the epicycle, and the equant.
An eccentric construction is one in which the Earth is placed outside the center of the geometrical construction. Here, the Earth, E, is displaced slightly from the center, C, of the path of the planet. Although this construction violated the rule that the Earth was the center of the cosmos and all planetary motions, the displacement was minimal and was considered a slight bending of the rule rather than a violation. The eccentric in the figure below is fixed; it could also be made movable. In this case the center of the large circle was a point that rotated around the Earth in a small circle centered on the Earth. In some constructions this little circle was not centered in the Earth.
The second construction, the epicycle, is geometrically equivalent to the simple movable eccentric. In this case, the planet moved on a little circle the center of which rotated on the circumference of the large circle the deferent centered on the Earth. When the directions and speeds of rotation of the epicycle and large circle were chosen appropriately, the planet, as seen from the Earth, would stop, reverse its course, and then move forward again. right good. Thus the annual retrograde motion of the planets (caused, in heliocentric terms good heliocentric terms rather than "really", by the addition of the Earth's annual motion to the motion of the planet) could roughly be accounted for.
But these two constructions did not quite bring the resulting planetary motions within close agreement with the observed motions. Ptolemy therefore added yet a third construction, the equant. In this case, the center of construction (the geometrical center) of the large circle was separated from the center of motion of a point on its circumference weird this doesnt come immediately back to my understanding, as shown below, where C is the geometrical center of the large circle (usually called in these constructions the excentric circle) but the motion of the center of the epicycle, P (middle figure), is uniform about Q, the equant point (righthand side figure). ok right so effectively it serves to explains change in speed (not regular - perfect- in motion relative to the geometrical ctr of the circle, so pick the point relative to wh it can be said to be perfect regular circular motion. uniform about Q, the equant point.
Ptolemaic System - at Rice University's Galileo Project goodlooking long article w illustrations
Ptolemy used three basic constructions, the eccentric, the epicycle, and the equant.
An eccentric construction is one in which the Earth is placed outside the center of the geometrical construction. Here, the Earth, E, is displaced slightly from the center, C, of the path of the planet. Although this construction violated the rule that the Earth was the center of the cosmos and all planetary motions, the displacement was minimal and was considered a slight bending of the rule rather than a violation. The eccentric in the figure below is fixed; it could also be made movable. In this case the center of the large circle was a point that rotated around the Earth in a small circle centered on the Earth. In some constructions this little circle was not centered in the Earth.
The second construction, the epicycle, is geometrically equivalent to the simple movable eccentric. In this case, the planet moved on a little circle the center of which rotated on the circumference of the large circle the deferent centered on the Earth. When the directions and speeds of rotation of the epicycle and large circle were chosen appropriately, the planet, as seen from the Earth, would stop, reverse its course, and then move forward again. right good. Thus the annual retrograde motion of the planets (caused, in heliocentric terms good heliocentric terms rather than "really", by the addition of the Earth's annual motion to the motion of the planet) could roughly be accounted for.
But these two constructions did not quite bring the resulting planetary motions within close agreement with the observed motions. Ptolemy therefore added yet a third construction, the equant. In this case, the center of construction (the geometrical center) of the large circle was separated from the center of motion of a point on its circumference weird this doesnt come immediately back to my understanding, as shown below, where C is the geometrical center of the large circle (usually called in these constructions the excentric circle) but the motion of the center of the epicycle, P (middle figure), is uniform about Q, the equant point (righthand side figure). ok right so effectively it serves to explains change in speed (not regular - perfect- in motion relative to the geometrical ctr of the circle, so pick the point relative to wh it can be said to be perfect regular circular motion. uniform about Q, the equant point.
The Gentle Order of Girls And Boys: Four Stories by Dao StromCounterpoint Press; 4 Bks in 1 edition (May 31, 2006)
From The New Yorker
Strom's second collection explores the lives of four Vietnamese-American women through their interactions with men. The book is informed by the Vietnamese immigrations of the nineteen-seventies but is filled with social observation of contemporary middle-class culture Leena in Texas and indie sensibility Sage in Austin punk rock scene. A film student observes that her friend is not "the first disgruntled, slightly sexually embittered male in his twenties" to identify with Travis Bickle, then silently wishes that he would "close himself—save face." A professional party girl from Ho Chi Minh City who has married a rich Texan secretly prefers the clean uniformity of a nearby housing development that her husband hates. I was very int in this girl Leena (the third of the four). And then Sage too: A free-spirited young mother senses some indistinct but imminent blessing that makes her float through her cocktail-waitressing job "feeling so sharp . . . lucid and empowered." Quietly beautiful, Strom's stories are hip without being ironic.
I haven't yet read much of the first sxn, d n get interested in Mary. was somewhat but not very int in Darcy (her sister? but the other two women Leena and Sage have no relations to the other three) who has the strange man son of landlord making himself at home in her place. tat was set in california, san francisco area? less of int to me than Austin Tx maybe. and Mary is at a college somewhere. since the rest was very good, shld go back and read Mary part.
From Publishers Weekly
Small moments carry enormous weight in these four loosely linked novellas about young Vietnamese women living in present-day California and Texas. Mary, a film student, feels compelled to find meaning in a brief encounter she'd had with the young, white Kenny. Darcy, a cocktail waitress in San Francisco who encounters an intruder in her apartment, wonders why she cannot be "the kind of woman you needed to be... one who kept up proper barriers." Leena, married to a successful white American businessman with whom she has a young daughter, finds suburban Austin somehow "less of a life than she'd bargained for." Sage, a half-Vietnamese singer and songwriter sexually attracted to a teacher at her son's preschool, searches for the people and place that will finally feel like home. For Strom (Grass Roof, Tin Roof), the most ordinary events—eating ice cream, swatting a fly—contain minor epiphanies that can delicately convey her characters' sense of disconnection and longing. Though such moments sometimes strain under the burden of significance, Strom, like her character Mary, more often wisely leaves her audience "a little wanting—she will do no interpreting for them." (May)
Tender survivors, November 27, 2006 -- Reviewer:D. P. Birkett (Suffern, NY)
In these accounts of Vietnamese women and their families living in the United States the usual structure of a short story is subtly reversed. The tales do not mount to a crescendo of action because the violence and physical danger in the women's lives are in the past. Dao Strom does not flashback to these events but only hints at them. For example, Sage, in the long final story is deeply devoted to her child and introspects about the nuances of her feelings for the men in her life. Her own mother was a Vietnamese prostitute who became pregnant by an American and asked him to pay for an abortion, instead of which he took her child. Some of the characters see the Americans as in some way soft and over-indulgent in meeting their emotional needs; needs that rank low in Maslow's hierarchy.
The first three stories ~ first two and the interlude: point of view of mother are closely interlinked and concern the same family. I found them the most intensely readable. Mary, Darcy, and American- born Christian are the three children of Su Heng, a boat person boat person?, who puzzles them by becoming apparently content with self-sufficient isolation.
The third story, "Neighbors" had the most dramatic impact. A beautiful Vietnamese girl, amoral but naïve and affectionate, is victimized sexually by men and yet able to manipulate them so as to survive.
Saturday, December 30, 2006
re Kidnapped's final (13th) episode - twop p 51 .. 52
-Just for the helluvit, I reviewed the thread to see who picked Archer first, as the mole -- catperson speculated about him way back on page one, because he was acting funny, and dandy1 called him out on October 22. What week was that? Three or four? Good work, you guys! --I do remember this. Catperson and Dandy1 have always made very insightful posts about the show, so it's no suprise they picked up on this right away.
What I really appreciated about Kidnapped was that we weren't tossed a bunch of red herrings. Sure, we had that stuff with Sullivan and Cain's dad early on, but they were there to flesh out Conrad's character. Same with Kellogg -- we learned a bit about Knapp through him. The writers never beat us over the head with anything, to make sure we got it.There were no twists just for the sake of being twisty. The clues were all there, in people's actions and in what they said. Well done.--Very good point, Auntie Pam.
-I'd also like to suggest that the producers of "24" watch this episode (actually, the whole season) to learn how to tie all the threads together and show respect for your audience's attention span and memory.
-What made this whole thing so believable was when Archer was talking to Atkins (poor Atkins) and tells him, "I used to be like you, but once I had a kid everything changed. I quit worrying about other people and only worried about him."
To me, that one line is able to hold the entire story together on its own. Brilliant writing.
Even better acting.
50
-The Dr. tells King that the Cains are friends of his. It may have only been a powerful social connection that got Leo moved up in line and not an out and out bribe. so Archer's kid d n get a heart bcs Leo got it . . .
-dandy1- In the first couple episodes we saw the FBI rent the apartment across the street. King called Knapp and asked him how his coffe was because he could see him through the window. When King and Knapp realize that it is Archer they agree that there is only one way to play this. In retrospect, thay are telling each other that they know Andy is going to have to be assasinated. They can't take him alive. So, while they couldn't be sure where Andy was in the apartment they were betting on Knapp being able to maneuver him into sight of some window in the apartment. He did that by moving towards Archer. Archer reacts by backing up into Kings sights. To me it makes sense---but they are asking the audience to remember this FBI apartment we have seen neither hide nor hair of in many moons. They could have put it in the previouslies but maybe they felt that would be giving away too much.
-AuntiePam- My watching was interrupted -- silly hubby wanted to go shopping. "But I can't! Archer just shot Turner -- he's killing everybody!"
to watch the episodes, go here! [members.optusnet.com.au/nickhalloway]
49
-dandy1- It's up!!! So good! Good ending, too. A very satisfying conclusion.
-sacoha- Wow, that was "edge of your seat" incredible. Linus Roache really cranked it up there at the end. He was so creepily good. I should have known that as good an actor as he is, he would ultimately have a meaty role to play. (hindsight) ...I would love to have a comparison of the 22-episode arc to the 13-episode arc (DVD bonus feature, please!) just to see what, if any, major changes were made.
-catperson- I would imagine he was the original bad guy, because if he got taken out of the picture --dead-- King might be inclined to stay on at the FBI. I think if it had been renewed, he and Knapp would have retained these two roles - by the rules and not by the rules - but because it was cancelled, they had Knapp offering King a job.
Did you see the look on Leo's face when his mom admitted she took the other kid's heart? I about died, hurting for him. He's gonna have to live with that forever.
-Oh, and if Ellie bribed anyone, I think it would have been the people associated with the donor registry because they are the ones that make the list and decide which patient gets the heart and then deliver it to the doctor of choice. The doctors do not get to decide.
-That was swell. Nice rug-pull-out-from-under ending, nice resolve of the case, nice that everybody ended as they began -- no learning, just surviving.
48 -sacoha-**Group Hug!** This has been the weirdest television experience I've ever had...and (sniff) it's almost over. Although I have complained about it being only on internet, the advantage is that it's there whenever I have the time to sit down and watch it. Not conducive to watching it with your family or a group of people, but convenient on your own. Even though I know I can find it elsewhere, I'm going to be really sad when this past episode is taken off NBC.com, because it was so great -- yay! Leo got rescued by Virgil and his dad, and he knew Knapp had a part in his safety, as well.
-Just for the helluvit, I reviewed the thread to see who picked Archer first, as the mole -- catperson speculated about him way back on page one, because he was acting funny, and dandy1 called him out on October 22. What week was that? Three or four? Good work, you guys! --I do remember this. Catperson and Dandy1 have always made very insightful posts about the show, so it's no suprise they picked up on this right away.
What I really appreciated about Kidnapped was that we weren't tossed a bunch of red herrings. Sure, we had that stuff with Sullivan and Cain's dad early on, but they were there to flesh out Conrad's character. Same with Kellogg -- we learned a bit about Knapp through him. The writers never beat us over the head with anything, to make sure we got it.There were no twists just for the sake of being twisty. The clues were all there, in people's actions and in what they said. Well done.--Very good point, Auntie Pam.
-I'd also like to suggest that the producers of "24" watch this episode (actually, the whole season) to learn how to tie all the threads together and show respect for your audience's attention span and memory.
-What made this whole thing so believable was when Archer was talking to Atkins (poor Atkins) and tells him, "I used to be like you, but once I had a kid everything changed. I quit worrying about other people and only worried about him."
To me, that one line is able to hold the entire story together on its own. Brilliant writing.
Even better acting.
50
-The Dr. tells King that the Cains are friends of his. It may have only been a powerful social connection that got Leo moved up in line and not an out and out bribe. so Archer's kid d n get a heart bcs Leo got it . . .
-dandy1- In the first couple episodes we saw the FBI rent the apartment across the street. King called Knapp and asked him how his coffe was because he could see him through the window. When King and Knapp realize that it is Archer they agree that there is only one way to play this. In retrospect, thay are telling each other that they know Andy is going to have to be assasinated. They can't take him alive. So, while they couldn't be sure where Andy was in the apartment they were betting on Knapp being able to maneuver him into sight of some window in the apartment. He did that by moving towards Archer. Archer reacts by backing up into Kings sights. To me it makes sense---but they are asking the audience to remember this FBI apartment we have seen neither hide nor hair of in many moons. They could have put it in the previouslies but maybe they felt that would be giving away too much.
-AuntiePam- My watching was interrupted -- silly hubby wanted to go shopping. "But I can't! Archer just shot Turner -- he's killing everybody!"
to watch the episodes, go here! [members.optusnet.com.au/nickhalloway]
49
-dandy1- It's up!!! So good! Good ending, too. A very satisfying conclusion.
-sacoha- Wow, that was "edge of your seat" incredible. Linus Roache really cranked it up there at the end. He was so creepily good. I should have known that as good an actor as he is, he would ultimately have a meaty role to play. (hindsight) ...I would love to have a comparison of the 22-episode arc to the 13-episode arc (DVD bonus feature, please!) just to see what, if any, major changes were made.
-catperson- I would imagine he was the original bad guy, because if he got taken out of the picture --dead-- King might be inclined to stay on at the FBI. I think if it had been renewed, he and Knapp would have retained these two roles - by the rules and not by the rules - but because it was cancelled, they had Knapp offering King a job.
Did you see the look on Leo's face when his mom admitted she took the other kid's heart? I about died, hurting for him. He's gonna have to live with that forever.
-Oh, and if Ellie bribed anyone, I think it would have been the people associated with the donor registry because they are the ones that make the list and decide which patient gets the heart and then deliver it to the doctor of choice. The doctors do not get to decide.
-That was swell. Nice rug-pull-out-from-under ending, nice resolve of the case, nice that everybody ended as they began -- no learning, just surviving.
48 -sacoha-**Group Hug!** This has been the weirdest television experience I've ever had...and (sniff) it's almost over. Although I have complained about it being only on internet, the advantage is that it's there whenever I have the time to sit down and watch it. Not conducive to watching it with your family or a group of people, but convenient on your own. Even though I know I can find it elsewhere, I'm going to be really sad when this past episode is taken off NBC.com, because it was so great -- yay! Leo got rescued by Virgil and his dad, and he knew Knapp had a part in his safety, as well.
Wednesday, December 27, 2006
THE USUAL SUSPECTS
(1995) rottentomatoes.com/m/usual_suspects
Wkpd- 1 Plot details
Agent Kuljan believes that the whole point of the exercise was not to interrupt a dope transaction, but rather for Söze to kill the man who was going to rat him out, a man named Arturo Marquez who had previously offered the names of many criminal associates including (that of Keyser Söze) in order to avoid jail time. hmm ok. maybe. maybe the point here is not only that Arturo could identify Soze but that he planned to rat him out? and was therefore either more of a threat or perhaps not even that, perhaps just someone who Soze wanted to personally kill in retribution.
that would moot my confusion. it was confusing to me that emphasized that Arturo was only person knew Soze by appearance. and point of whole exercise was to eliminate this threat. but at end Verbal/Soze left a survivor whose description allowed an artist rendering of him *and* an agent with a clue to the fact that he had just been had by the man himself (the clue being that Verbal's story took its specifics from the bulletin board notices in the room - this had to be for the sake of an after-the-fact realization by the agent right? a master criminal doesn't leave himself thus vulnerable to discovery without intending to, right, he does it because he can. he can even give himself away by his story and still walk. anyway the upshot is that at the end there are two people who can identify Verbal, and he seems to have on the one hand allowed and on the other encouraged this. but all the activity of the usual suspects was for the sake of eliminating one person who could identify him? huh?
"The tale of Keyser Söze" ... Verbal Kint: Keaton always said, "I don't believe in God, but I'm afraid of him." Well, I believe in God -- and the only thing that scares me is Keyser Soze.
(1995) rottentomatoes.com/m/usual_suspects
Wkpd- 1 Plot details
Agent Kuljan believes that the whole point of the exercise was not to interrupt a dope transaction, but rather for Söze to kill the man who was going to rat him out, a man named Arturo Marquez who had previously offered the names of many criminal associates including (that of Keyser Söze) in order to avoid jail time. hmm ok. maybe. maybe the point here is not only that Arturo could identify Soze but that he planned to rat him out? and was therefore either more of a threat or perhaps not even that, perhaps just someone who Soze wanted to personally kill in retribution.
that would moot my confusion. it was confusing to me that emphasized that Arturo was only person knew Soze by appearance. and point of whole exercise was to eliminate this threat. but at end Verbal/Soze left a survivor whose description allowed an artist rendering of him *and* an agent with a clue to the fact that he had just been had by the man himself (the clue being that Verbal's story took its specifics from the bulletin board notices in the room - this had to be for the sake of an after-the-fact realization by the agent right? a master criminal doesn't leave himself thus vulnerable to discovery without intending to, right, he does it because he can. he can even give himself away by his story and still walk. anyway the upshot is that at the end there are two people who can identify Verbal, and he seems to have on the one hand allowed and on the other encouraged this. but all the activity of the usual suspects was for the sake of eliminating one person who could identify him? huh?
"The tale of Keyser Söze" ... Verbal Kint: Keaton always said, "I don't believe in God, but I'm afraid of him." Well, I believe in God -- and the only thing that scares me is Keyser Soze.
here go: (thing) by Semisane -- everything2.com (all of The Usual Suspects, there are 2 more in this node)
While I was punching holes in legal documents for purposes of Cerlox binding, I realized that there is a significant flaw in the plot of one of my favourite movies: The Usual Suspects. hmm it's not what I'd call a flaw. either the writer has a good answer to this confusion or the whole plot makes no sense.
The whole plot hinges, of course, around one massive unknown fact: a fact that is revealed gloriously in the end. Now, the reason for which Kaiser launched the operation against the boat with the Hungarians was to kill the one man, Arturro Marquez, who could identify him. Then, through brilliant storytelling, he seemingly escapes from the police. The drama of the final scene is heightened by the sudden, crushing realisation of the duped detective that he has been tricked. Now, there are two possibilities. One: Kaiser didn't care whether he could be identified by the police or not. In this scenario, it makes no sense for him to go through all the trouble of killing the one man who can identify him. If, then, as the second scenario requires, he does want to remain anonymous, he has failed. The police now have a description from the Hungarian who was nearly burned to death and the information from Dave Kujan's (the detective from US Customs) revelation. The ending seems to be this brilliant moment of cleverness winning out - a classic clever villain escapes his captors film - but in the end, Kaiser has failed to achieve what he set out to do. He was about to be released before he told anything to Kujan, the customs agent, and would therefore have probably gotten away with everything. His cover was good enough that the sketch from the Hungarian probably wouldn't have been enough to finger him.
The obvious objection to this line of reasoning is Kaiser's statement about vanishing and never been heard of again. Of course, if that had been his plan, Marquez would have been irrelevant. right. weird. what was the writer thinking? Moreover, there would have been no reason to tell his story at all: he could have just walked and disappeared.
While I was punching holes in legal documents for purposes of Cerlox binding, I realized that there is a significant flaw in the plot of one of my favourite movies: The Usual Suspects. hmm it's not what I'd call a flaw. either the writer has a good answer to this confusion or the whole plot makes no sense.
The whole plot hinges, of course, around one massive unknown fact: a fact that is revealed gloriously in the end. Now, the reason for which Kaiser launched the operation against the boat with the Hungarians was to kill the one man, Arturro Marquez, who could identify him. Then, through brilliant storytelling, he seemingly escapes from the police. The drama of the final scene is heightened by the sudden, crushing realisation of the duped detective that he has been tricked. Now, there are two possibilities. One: Kaiser didn't care whether he could be identified by the police or not. In this scenario, it makes no sense for him to go through all the trouble of killing the one man who can identify him. If, then, as the second scenario requires, he does want to remain anonymous, he has failed. The police now have a description from the Hungarian who was nearly burned to death and the information from Dave Kujan's (the detective from US Customs) revelation. The ending seems to be this brilliant moment of cleverness winning out - a classic clever villain escapes his captors film - but in the end, Kaiser has failed to achieve what he set out to do. He was about to be released before he told anything to Kujan, the customs agent, and would therefore have probably gotten away with everything. His cover was good enough that the sketch from the Hungarian probably wouldn't have been enough to finger him.
The obvious objection to this line of reasoning is Kaiser's statement about vanishing and never been heard of again. Of course, if that had been his plan, Marquez would have been irrelevant. right. weird. what was the writer thinking? Moreover, there would have been no reason to tell his story at all: he could have just walked and disappeared.
Verbal: Where's your head, Agent Kujan? Where do you think the pressure's coming from? Keyser Soze - or whatever you want to call him - knows where I am right now. He's got the front burner under' your ass to let me go so he can scoop me up ten minutes later. Immunity was just to deal with you assholes. I got a whole new problem when I post bail.
Dave Kujan: So why play into his hands? We can protect you.
Verbal: Gee, thanks, Dave. Bang-up job so far. Extortion, coercion. You'll pardon me if I ask you to kiss my pucker. The same fuckers that rounded us up and sank us into this mess are telling me They'll bail me out? Fuck you. You think you can catch Keyser Soze? You think a guy like that comes this close to getting fingered and sticks his head out? If he comes up for anything, it will be to get rid of me. After that, my guess is you'll never hear from him again.
Dave Kujan: So why play into his hands? We can protect you.
Verbal: Gee, thanks, Dave. Bang-up job so far. Extortion, coercion. You'll pardon me if I ask you to kiss my pucker. The same fuckers that rounded us up and sank us into this mess are telling me They'll bail me out? Fuck you. You think you can catch Keyser Soze? You think a guy like that comes this close to getting fingered and sticks his head out? If he comes up for anything, it will be to get rid of me. After that, my guess is you'll never hear from him again.
Sunday, December 24, 2006
00:00:38,960 --* 00:00:40,678
Well, listen.
12
00:00:40,760 --* 00:00:42,591
The Rabbi also had a bookie - Benny Begin.
13
00:00:42,680 --* 00:00:45,353
Benny's at the morgue.
Somebody killed him and his goons.
14
00:00:45,440 --* 00:00:47,590
- The morgue?
- Didn't I say I was a coroner?
15
00:00:47,680 --* 00:00:49,352
No, you didn't say you were a coroner.
16
00:00:52,280 --* 00:00:54,236
Benny Begin - killed by a baseball.
17
00:00:54,960 --* 00:00:56,678
My guess was a fastball.
18
00:00:58,480 --* 00:01:01,597
Well, either way it proves
that the good Lord has a sense of humor.
19
00:01:01,680 --* 00:01:03,398
- Good morning, Detective.
- Morning.
20
00:01:03,480 --* 00:01:06,597
- You know this guy?
- Big-time bookie. Worked for The Rabbi.
21
00:01:06,680 --* 00:01:09,513
- Why do they call him The Rabbi?
- Because he's a rabbi.
22
00:01:09,600 --* 00:01:11,431
Between you and me...
23
00:01:12,280 --* 00:01:15,909
20 years ago he used to be my bookie.
I used to sign my pay cheques over to him.
told you dad. NOT 'he used to sign my paychecks.'
opensubtitles.org/en/subtitles/240386/lucky-number-slevin-en
downloads: downloads: Lucky.Number.Slevin.2006.RETAiL.DVDRip.XviD.CD2-LPD.srt
(41091 bytes) show preview
sandwiches
did anyone else notice how often sandwiches appear in this movie? It's like the new cigarettes!
dude, i noticed that too, whats up with that?
did anyone else notice how often sandwiches appear in this movie? It's like the new cigarettes!
dude, i noticed that too, whats up with that?
In an airport waiting room, a man in a wheelchair tells a stranger a story about a fixed horse race in 1979 that resulted in a family's deaths. In Manhattan, two bookies and the son of a Mob boss die. A young man just out of the shower answers the door to a neighbor woman and explains that he's visiting, has had a bad week, including being mugged, and doesn't know where his pal, who lives there, is. The neighbor is chatty; she's a coroner. Two thugs arrive and, believing the visitor to be the guy who lives there, take him to see the boss with the dead son, who tells him to kill the son of his Mob rival. Mistaken identity? What connects the threads? Cops are watching.
good summary - Lucky Number Slevin (2006)
I'd prefer they'd called it the Kansas City Shuffle
A Kansas City Shuffle is when everybody looks right, you go left.
Slevin: This isn't the first time this has happened, you know.
Lindsey: You mean this isn't the first time a crime lord asked you to kill the gay son of a rival gangster to pay off a debt that belongs to a friend whose place you're staying in as a result of losing your job, your apartment, and finding your girlfriend in bed with another guy?
Slevin: No, this is the first time that happened, but Nick has been painting me into corners since we were kids.
-- Author: matt_cub from United Kingdom --The pairing of Sir Ben and Freeman alone is worth the price of admission, but this is Hartnett(as Slevin)'s film and perhaps it should not be too surprising that he carries it off effectively. In fact, none of the cast really put a foot wrong and even Lucy Liu is pretty adorable (against type too if you believe the all the press).
..The dialogue is at times razor sharp and the action is well shot.
Unfairly dismissed by some as confusing, wrongly compared to the legendary Usual Suspects - it's a league apart from the mess that was Revolver and doesn't outstay a welcome.Oh, and Willis gets to call someone a 'f*** head' again. Great stuff.
oh the detective actor is Stanley Tucci ... now starring in 3lb (premiered on tv late this fall in slot following House but one another channel maybe CBS) and I know him from the one full episode of Monk I've seen and it went rather profoundly into Monk's psyche as the actor playing him became him - Mr. Monk and the Actor (2006) TV Episode .... David Ruskin
also, dad reminds me, Undercover Blues (1993) .... Muerte (aka Morty)
"Lucky Number Slevin" is a highly stylized thriller, already being labeled a sort of "hip Hitchcock." More Than Eye Candy - cbsnews.com Hartnett, 27, admits he spends much of the film dressed in little more than a towel but says he thinks the film will help reverse his pretty boy image. "I think this will fight it," he told Smith. "I definitely didn't spend a ton of time at the gym. I get beat up quite a bit in the film. It's not a glamour part. That's what I like about it." well. I found Slevin attrative as soon as he started talking, the confidence and sharpmindedness I suppose. but at end saw the credit - ech its Josh Hartnett - ech of dumb movies like well the only one I've seen at all probably is 40 days - ech. and so. give him the longish hair and an assassin's manner (what's not my problem is not my problem) and I like him.
good summary - Lucky Number Slevin (2006)
I'd prefer they'd called it the Kansas City Shuffle
A Kansas City Shuffle is when everybody looks right, you go left.
Slevin: This isn't the first time this has happened, you know.
Lindsey: You mean this isn't the first time a crime lord asked you to kill the gay son of a rival gangster to pay off a debt that belongs to a friend whose place you're staying in as a result of losing your job, your apartment, and finding your girlfriend in bed with another guy?
Slevin: No, this is the first time that happened, but Nick has been painting me into corners since we were kids.
-- Author: matt_cub from United Kingdom --The pairing of Sir Ben and Freeman alone is worth the price of admission, but this is Hartnett(as Slevin)'s film and perhaps it should not be too surprising that he carries it off effectively. In fact, none of the cast really put a foot wrong and even Lucy Liu is pretty adorable (against type too if you believe the all the press).
..The dialogue is at times razor sharp and the action is well shot.
Unfairly dismissed by some as confusing, wrongly compared to the legendary Usual Suspects - it's a league apart from the mess that was Revolver and doesn't outstay a welcome.Oh, and Willis gets to call someone a 'f*** head' again. Great stuff.
oh the detective actor is Stanley Tucci ... now starring in 3lb (premiered on tv late this fall in slot following House but one another channel maybe CBS) and I know him from the one full episode of Monk I've seen and it went rather profoundly into Monk's psyche as the actor playing him became him - Mr. Monk and the Actor (2006) TV Episode .... David Ruskin
also, dad reminds me, Undercover Blues (1993) .... Muerte (aka Morty)
"Lucky Number Slevin" is a highly stylized thriller, already being labeled a sort of "hip Hitchcock." More Than Eye Candy - cbsnews.com Hartnett, 27, admits he spends much of the film dressed in little more than a towel but says he thinks the film will help reverse his pretty boy image. "I think this will fight it," he told Smith. "I definitely didn't spend a ton of time at the gym. I get beat up quite a bit in the film. It's not a glamour part. That's what I like about it." well. I found Slevin attrative as soon as he started talking, the confidence and sharpmindedness I suppose. but at end saw the credit - ech its Josh Hartnett - ech of dumb movies like well the only one I've seen at all probably is 40 days - ech. and so. give him the longish hair and an assassin's manner (what's not my problem is not my problem) and I like him.
Thursday, December 21, 2006
Bubble (2005) imdb rvw Ivanhoe Vargas
Bubble (2005/I)
I know this type of movie has been done before, but BUBBLE impressed me and is still growing on me. These are relationships that are closer than the ...imdb.com/title/tt0454792/ - 52k -Cached -
http://www.imdb.com/title/tt0454792/usercomments
Small Town Life, 26 May 2006
10/10 Author: Ivanhoe Vargas (rangonin@aol.com) from Jersey City, NJ
The lives of small-town workers, as insular as the title suggests, and the way they interact with one another unaware of these ties, real or imagined or wished for, is dissected in Steven Soderbergh's de-glamorized little experiment of a movie. It probably won't cause a big splash -- it's not meant to -- but to anyone aware of its existence, it should be seen, even when the experience may not be the most satisfactory.
Martha and Kyle work dead-end jobs in a doll factory. Nothing important happens to them, at least, not as envisioned by us, who may -- whether we're aware of it or not -- have better lives than they do. Martha dreams of going to Aruba for a vacation one day, Kyle wants to save money for a car. The exchange of small talk is a big part of these people's lives, a way of them to have someone who is there, who will listen, even when they may not respond back, or even care.
While I know it's been done before, I was surprised at how authentic the ad hoc dialog was: I felt myself thinking, I've had these exchanges of thoughts, dreams, experiences, even over coffee and fast food. I may not live in a small town like the nameless place in Ohio but I'm not that different from these people, and after all, aren't we all looking for something better? Context doesn't change things, it just places them in a different locale.
Martha and Kyle may not know it, but they have a lot more shared history together but because it's so mundane it looks irrelevant. How many times have we gone to lunch with co-workers every day on the clock at 1:00 PM, spoken the same small words while ordering the same food and beverages, and one day, when this doesn't happen, we feel lost? It's what happens to Martha at the arrival of the monkey-wrench that Rose represents.
Rose has a murky past that gets hinted at throughout her brief participation, and her sole presence is enough to cause the subtlest of shifts within Martha who continually watches her, maybe even without knowing it. I know people like Martha. They don't know you and they don't want to get to know you since you are the implied enemy, and they hint at only a veiled animosity while going through these practiced motions of social politeness and a willingness to "help". Rose, too, knows she is not liked by Martha and is also concealing it all under a Mona Lisa smile.
After all, Rose is the new girl, the one who is different, the one who -- in Martha's words -- scares her. But why? Because Rose will, in Martha's world, become a distraction to her perfectly organized world of small actions and repetitive complacency. Rose is restless, and that kind of people attract others who may have been sleepwalking through life and give them a possibility of change. Kyle is attracted to change and drops hints here and there. Now, whether they involve Rose or not is for his character to disclose to us, and even then, it doesn't matter if he does that or not: the story of BUBBLE isn't dependent on a fixed outcome because it's a story about real people, and their stories are less drama-heavy, less swooning, and entirely dependent on personal choice.
Had this been a Hollywood version, Martha would not have been the moon-faced woman we see here (which we've seen in any Walgreen's) but Kathy Bates. Kyle's and Rose's date would have had more interaction, sensual flirtation, the inevitable exchange of a romanticized kiss instead of this bland, awkward chit-chat in a sad bar. And even when it would have ended in non-chemistry as it does, there would have been more glitz and glamor. Here, it's again, just two people who have little in common past the initial spark, again sharing their hopes and dreams with some alcohol.
I know this type of movie has been done before, but BUBBLE impressed me and is still growing on me. These are relationships that are closer than the characters involved would like to admit to, and the actions or presence of one will dictate how the other will react. Martha is at the center of this triangle and is probably the most aware of the three: she's not quite there, but maybe a little too there at the same time. And that makes her story, and that of BUBBLE, so resonant.
I know this type of movie has been done before, but BUBBLE impressed me and is still growing on me. These are relationships that are closer than the ...imdb.com/title/tt0454792/ - 52k -
http://www.imdb.com/title/tt0454792/usercomments
Small Town Life, 26 May 2006
10/10 Author: Ivanhoe Vargas (rangonin@aol.com) from Jersey City, NJ
The lives of small-town workers, as insular as the title suggests, and the way they interact with one another unaware of these ties, real or imagined or wished for, is dissected in Steven Soderbergh's de-glamorized little experiment of a movie. It probably won't cause a big splash -- it's not meant to -- but to anyone aware of its existence, it should be seen, even when the experience may not be the most satisfactory.
Martha and Kyle work dead-end jobs in a doll factory. Nothing important happens to them, at least, not as envisioned by us, who may -- whether we're aware of it or not -- have better lives than they do. Martha dreams of going to Aruba for a vacation one day, Kyle wants to save money for a car. The exchange of small talk is a big part of these people's lives, a way of them to have someone who is there, who will listen, even when they may not respond back, or even care.
While I know it's been done before, I was surprised at how authentic the ad hoc dialog was: I felt myself thinking, I've had these exchanges of thoughts, dreams, experiences, even over coffee and fast food. I may not live in a small town like the nameless place in Ohio but I'm not that different from these people, and after all, aren't we all looking for something better? Context doesn't change things, it just places them in a different locale.
Martha and Kyle may not know it, but they have a lot more shared history together but because it's so mundane it looks irrelevant. How many times have we gone to lunch with co-workers every day on the clock at 1:00 PM, spoken the same small words while ordering the same food and beverages, and one day, when this doesn't happen, we feel lost? It's what happens to Martha at the arrival of the monkey-wrench that Rose represents.
Rose has a murky past that gets hinted at throughout her brief participation, and her sole presence is enough to cause the subtlest of shifts within Martha who continually watches her, maybe even without knowing it. I know people like Martha. They don't know you and they don't want to get to know you since you are the implied enemy, and they hint at only a veiled animosity while going through these practiced motions of social politeness and a willingness to "help". Rose, too, knows she is not liked by Martha and is also concealing it all under a Mona Lisa smile.
After all, Rose is the new girl, the one who is different, the one who -- in Martha's words -- scares her. But why? Because Rose will, in Martha's world, become a distraction to her perfectly organized world of small actions and repetitive complacency. Rose is restless, and that kind of people attract others who may have been sleepwalking through life and give them a possibility of change. Kyle is attracted to change and drops hints here and there. Now, whether they involve Rose or not is for his character to disclose to us, and even then, it doesn't matter if he does that or not: the story of BUBBLE isn't dependent on a fixed outcome because it's a story about real people, and their stories are less drama-heavy, less swooning, and entirely dependent on personal choice.
Had this been a Hollywood version, Martha would not have been the moon-faced woman we see here (which we've seen in any Walgreen's) but Kathy Bates. Kyle's and Rose's date would have had more interaction, sensual flirtation, the inevitable exchange of a romanticized kiss instead of this bland, awkward chit-chat in a sad bar. And even when it would have ended in non-chemistry as it does, there would have been more glitz and glamor. Here, it's again, just two people who have little in common past the initial spark, again sharing their hopes and dreams with some alcohol.
I know this type of movie has been done before, but BUBBLE impressed me and is still growing on me. These are relationships that are closer than the characters involved would like to admit to, and the actions or presence of one will dictate how the other will react. Martha is at the center of this triangle and is probably the most aware of the three: she's not quite there, but maybe a little too there at the same time. And that makes her story, and that of BUBBLE, so resonant.
The World Of Bubble, 3 April 2006
9/10 Author: richardsjeff
What I find fascinating is that Soderbergh films the Mid Ohio Valley much like Woody Allen films Manhattan. For those of you who aren't familiar, the Mid Ohio Valley is a series of towns, Belpre OH (where most of the movie takes place), Parkersburg WV(Most of the time when the characters were downtown, this is where they were), Marietta OH, Williamstown and Vienna WV. All of these towns are both independent and dependent at the same time. As a native of the "valley" I can tell you it's a strange, yet intriguing world. I believe (unlike in a lot of indie features) using area people only helped to make this film stronger. Characters talk about tattoo shops in Marietta or running away to Charleston, much like a character in a Woody Allen film would talk about Coney Island. Nods are giving to such area trademarks as the Corner Cafe, Valley Beauty School, and Napoli's. It's almost like he and writer Coleman Hough created this world on their own and every part of it belongs to them now.
Author: James McNally from Toronto, Canada
This is a small and quiet film in which large themes play out over 90 minutes. The pace is very deliberate, and the atmosphere incredibly claustrophobic. The overriding theme for me seemed to be isolation and it was almost physically painful watching some of the characters go about their daily routines or listening to them try to connect with each other. These are people who seem completely inarticulate and unable to express their feelings.yeah it is sad and quiet. There is a sort of love triangle, and a murder, but that's about all I can say.
9/10 Author: richardsjeff
What I find fascinating is that Soderbergh films the Mid Ohio Valley much like Woody Allen films Manhattan. For those of you who aren't familiar, the Mid Ohio Valley is a series of towns, Belpre OH (where most of the movie takes place), Parkersburg WV(Most of the time when the characters were downtown, this is where they were), Marietta OH, Williamstown and Vienna WV. All of these towns are both independent and dependent at the same time. As a native of the "valley" I can tell you it's a strange, yet intriguing world. I believe (unlike in a lot of indie features) using area people only helped to make this film stronger. Characters talk about tattoo shops in Marietta or running away to Charleston, much like a character in a Woody Allen film would talk about Coney Island. Nods are giving to such area trademarks as the Corner Cafe, Valley Beauty School, and Napoli's. It's almost like he and writer Coleman Hough created this world on their own and every part of it belongs to them now.
Author: James McNally from Toronto, Canada
This is a small and quiet film in which large themes play out over 90 minutes. The pace is very deliberate, and the atmosphere incredibly claustrophobic. The overriding theme for me seemed to be isolation and it was almost physically painful watching some of the characters go about their daily routines or listening to them try to connect with each other. These are people who seem completely inarticulate and unable to express their feelings.yeah it is sad and quiet. There is a sort of love triangle, and a murder, but that's about all I can say.
Very thought-provoking if you keep an open mind, 28 January 2006
8/10 Author: Gale Wright from United States
My husband and I saw Bubble at the Little Theatre in Rochester, NY on January 27. We went in expecting to enjoy it since we enjoy all kinds of films, and the subject matter resonates with us as working class people in our 40s. Most of the audience appeared to be upper middle-class people in their 50s and 60s. I sensed by the end of the showing that they did not like it. They probably also would not have liked Gummo, the film this one most reminded us of. People coming out of the earlier showing made comments like, "Well, what was THAT all about?" I hope that responses like that don't keep Soderburgh from making all the rest of the films in his planned series. More people need to think about the issues raised in Bubble.
Notable issues: Repressed emotions, due to constant care-taking of others, spending most of your time and energy just getting by, working in monotonous jobs, working all the time, not working at all, just surviving, just getting by. What is the definition of "friend"? What is art?
Notable images: The artistry involved in actually manufacturing the dolls, resemblance of Martha's face to the dolls' faces, actually seeing the emotions on the actors' faces when Rose is introduced to the other workers, Jake's apartment walls, still shots of the doll parts (especially the ones with the patent leather shoes on the feet), Kyle shoveling sawdust at the shovel factory.
The ending: It is simple and jarring. But it was enough.
The performances: Dignified and confident. I can't imagine myself doing as well as they did. They should feel proud of their accomplishment.
I like this review a lot, I think it's very good, and I like the author.
8/10 Author: Gale Wright from United States
My husband and I saw Bubble at the Little Theatre in Rochester, NY on January 27. We went in expecting to enjoy it since we enjoy all kinds of films, and the subject matter resonates with us as working class people in our 40s. Most of the audience appeared to be upper middle-class people in their 50s and 60s. I sensed by the end of the showing that they did not like it. They probably also would not have liked Gummo, the film this one most reminded us of. People coming out of the earlier showing made comments like, "Well, what was THAT all about?" I hope that responses like that don't keep Soderburgh from making all the rest of the films in his planned series. More people need to think about the issues raised in Bubble.
Notable issues: Repressed emotions, due to constant care-taking of others, spending most of your time and energy just getting by, working in monotonous jobs, working all the time, not working at all, just surviving, just getting by. What is the definition of "friend"? What is art?
Notable images: The artistry involved in actually manufacturing the dolls, resemblance of Martha's face to the dolls' faces, actually seeing the emotions on the actors' faces when Rose is introduced to the other workers, Jake's apartment walls, still shots of the doll parts (especially the ones with the patent leather shoes on the feet), Kyle shoveling sawdust at the shovel factory.
The ending: It is simple and jarring. But it was enough.
The performances: Dignified and confident. I can't imagine myself doing as well as they did. They should feel proud of their accomplishment.
I like this review a lot, I think it's very good, and I like the author.
popmatters.com/film/reviews
While Martha is mostly unable to articulate her anxiety, it becomes visible when she learns that Rose has asked her to babysit on Friday night so that Rose and Kyle can go out on a date. When Kyle arrives to pick up Rose -- he's borrowed his mom's car -- Martha's cheeks flush. He observes the "weird vibe" to Rose, and decides not to go back inside when he drops her off after their dullsville date: drinks at a bar, a brief visit in Kyle's bedroom while his mom watches tv in the next room, Rose stealing Kyle's money while he goes to fetch beers.
But if Martha can't speak it, her frustration is reflected variously -- in a brief heated exchange between Rose and her ex (K. Smith), in her own father's fatigued acquiescence to his routine, in her brief moment in church, as the camera shows her suddenly isolated and bathed in harsh white light. This last image is especially haunting, as it recurs, under different circumstances, later in the film. Martha remains inscrutable in these frames, her blank face left open to your interpretation, a working-class, unglamorous, intensely limited version of those more famous faces similarly bathed in light yes yes I tht of this ~ film as woman's face ~ iconic ~ light and shadow, seemingly aching to be read: Garbo, Dietrich, Jennifer Jones (as in, The Song of Bernadette). Martha, unlike these icons, offers no hope. Martha inspires only despair and maybe derision. The film doesn't push you to identify with her, or admire her, but only to be glad you're not her.
While Martha is mostly unable to articulate her anxiety, it becomes visible when she learns that Rose has asked her to babysit on Friday night so that Rose and Kyle can go out on a date. When Kyle arrives to pick up Rose -- he's borrowed his mom's car -- Martha's cheeks flush. He observes the "weird vibe" to Rose, and decides not to go back inside when he drops her off after their dullsville date: drinks at a bar, a brief visit in Kyle's bedroom while his mom watches tv in the next room, Rose stealing Kyle's money while he goes to fetch beers.
But if Martha can't speak it, her frustration is reflected variously -- in a brief heated exchange between Rose and her ex (K. Smith), in her own father's fatigued acquiescence to his routine, in her brief moment in church, as the camera shows her suddenly isolated and bathed in harsh white light. This last image is especially haunting, as it recurs, under different circumstances, later in the film. Martha remains inscrutable in these frames, her blank face left open to your interpretation, a working-class, unglamorous, intensely limited version of those more famous faces similarly bathed in light yes yes I tht of this ~ film as woman's face ~ iconic ~ light and shadow, seemingly aching to be read: Garbo, Dietrich, Jennifer Jones (as in, The Song of Bernadette). Martha, unlike these icons, offers no hope. Martha inspires only despair and maybe derision. The film doesn't push you to identify with her, or admire her, but only to be glad you're not her.
Saturday, December 16, 2006
twop Nip/Tuck pg 9 - 10 March 2004
too bad earlier posts are not available, re first season... but at least there are some comments here occasioned by FX running season 1 in repeats [before starting season 2 in June 2004... 22 June I guess ~ p40 "tonight"]
-Well, I rewatched the pilot. I'm amazed about how good the first episode really is. I was struck by how good the actress who plays Kimber is.
-I still can't get over the opening sex scene. It's still hot after all these months.
-I did notice Julia's reaction when her 1987 pregnant self came into view on the tape. She tore her eyes away, shook her head, had an expression that looked like a mixture of anguish, remorse, maybe guilt? I don't think it was her envying the milked-up, swollen nature of her boobs back then -- it could be she was actually remembering sleeping with Christian and knowing the baby could very well be his. Her reaction just spoke volumes and I caught that this time thanks to the finding out later in the season that Matt's paternity is questionable. See, this is one of the many reasons why I'm so eager for season 2 to begin.
-I forgot how good and intense this show is. Christian Troy is such an appealing character -- he's a magnificent, cold, conniving bastard yet brimming underneath the surface is a wounded hurting soul who, I don't know, just seems to understand.
20 This is great. I'm celebrating a birthday this weekend and N/T is coming back.
Botox shots all around!
too bad earlier posts are not available, re first season... but at least there are some comments here occasioned by FX running season 1 in repeats [before starting season 2 in June 2004... 22 June I guess ~ p40 "tonight"]
-Well, I rewatched the pilot. I'm amazed about how good the first episode really is. I was struck by how good the actress who plays Kimber is.
-I still can't get over the opening sex scene. It's still hot after all these months.
-I did notice Julia's reaction when her 1987 pregnant self came into view on the tape. She tore her eyes away, shook her head, had an expression that looked like a mixture of anguish, remorse, maybe guilt? I don't think it was her envying the milked-up, swollen nature of her boobs back then -- it could be she was actually remembering sleeping with Christian and knowing the baby could very well be his. Her reaction just spoke volumes and I caught that this time thanks to the finding out later in the season that Matt's paternity is questionable. See, this is one of the many reasons why I'm so eager for season 2 to begin.
-I forgot how good and intense this show is. Christian Troy is such an appealing character -- he's a magnificent, cold, conniving bastard yet brimming underneath the surface is a wounded hurting soul who, I don't know, just seems to understand.
20 This is great. I'm celebrating a birthday this weekend and N/T is coming back.
Botox shots all around!
Sandhill Trek: To the Women's Media Center - long time women bloggers
rbcca blood: I truly am not th first wmn blggr.can think of 5 wh preceded me: TaraCalishain researchbuzz.com, LaurelKrahn windowseat.org, JessamynWest librarian.net, BrigetteEaton eatonweb.net, HeatherAnneHalpert wh once maintaind a site calld Lemonyellow
was looking for this here, searching yelloe and first+bloggers and female+bloggers and women+bloggers, but had not noted it here. found pgmrk in my dlcs.
rbcca blood: I truly am not th first wmn blggr.can think of 5 wh preceded me: TaraCalishain researchbuzz.com, LaurelKrahn windowseat.org, JessamynWest librarian.net, BrigetteEaton eatonweb.net, HeatherAnneHalpert wh once maintaind a site calld Lemonyellow
was looking for this here, searching yelloe and first+bloggers and female+bloggers and women+bloggers, but had not noted it here. found pgmrk in my dlcs.
pettifog.net...
I finished reading The Children's Hospital about a week ago and am eager to discuss it! I really enjoyed it. I read it in parts, over a month or so. Since this was different from my usual all-at-once immersion in a novel, and also since there were several big narrative-shifting events, it reminded me of the experience of following a story unfolding week-by-week on a tv show or miniseries.
Upon finishing the book, the questions I'm most interested in are about the four angels -- who was narrating when, which was which? We were told that it takes four angels to oversee an apocalypse: one to preserve, one to record, one to accuse, one to destroy.
Do the four chapter-heading pictograms correspond to the four angels? While reading, I had thought only one or two did: the feather pens for the recording angel and the knives for the destroying angel (who I'd thought was Ishmael? but I suppose Ishmael is the accuser, and Calvin the destroyer...) Then there is the pictogram of fishes, which headed the chapters that made up the bulk of the book and presented a mostly third-person narrative of daily life in the floating hospital. And the fourth pictogram was a square grid, which headed the 'flashbacks' to Jemma's childhood. Perhaps these pictograms were not meant to correspond with specific angelic voices -- but since there were four pictograms (and kinds of chapters) and four angels, doesn't it seem intended that they should?
Also, Calvin as angel at the end refers to "sisters", which confused me, because only the preserving angel seemed to be female. (I tended to assume the voice of the recording angel was female, but a few times it identified itself as male, I think.)
Anyone have answers for me? Thoughts?
Author: mcass « Reply #1 on: Today at 08:14:01 AM »
I finished reading The Children's Hospital about a week ago and am eager to discuss it! I really enjoyed it. I read it in parts, over a month or so. Since this was different from my usual all-at-once immersion in a novel, and also since there were several big narrative-shifting events, it reminded me of the experience of following a story unfolding week-by-week on a tv show or miniseries.
Upon finishing the book, the questions I'm most interested in are about the four angels -- who was narrating when, which was which? We were told that it takes four angels to oversee an apocalypse: one to preserve, one to record, one to accuse, one to destroy.
Do the four chapter-heading pictograms correspond to the four angels? While reading, I had thought only one or two did: the feather pens for the recording angel and the knives for the destroying angel (who I'd thought was Ishmael? but I suppose Ishmael is the accuser, and Calvin the destroyer...) Then there is the pictogram of fishes, which headed the chapters that made up the bulk of the book and presented a mostly third-person narrative of daily life in the floating hospital. And the fourth pictogram was a square grid, which headed the 'flashbacks' to Jemma's childhood. Perhaps these pictograms were not meant to correspond with specific angelic voices -- but since there were four pictograms (and kinds of chapters) and four angels, doesn't it seem intended that they should?
Also, Calvin as angel at the end refers to "sisters", which confused me, because only the preserving angel seemed to be female. (I tended to assume the voice of the recording angel was female, but a few times it identified itself as male, I think.)
Anyone have answers for me? Thoughts?
Author: mcass « Reply #1 on: Today at 08:14:01 AM »
Thursday, December 14, 2006
Cut and run (California here I come) thus spake drake - http://drakelelane.blogspot.com posted by drake leLane @ 10:01 AM :
On the decision to move to Los Angeles, according to creator Ryan Murphy (posting on an after show Q&A via niptuckforum.com:)
Playlist: Nip/Tuck - Episode 4.15
from list of songs Compiled by Avalon at niptuckforum.com
but does not include the instrumental bit while sean is talking to matt, at kimber's...
wh rg liked and wanted to identify ... and did: Brian Eno "An Ending"
Apollo: Atmospheres & Soundtracks ~ Brian Eno
An Ending (Ascent) Listen
This Hear: An Ending (Ascent) -I agree fully that this is possibly one of the most beautiful pieces of music ever made. It is the closest that I will ever (physically) come to space travel. Brian Eno, to me, has a body of work that is underappreciated because of its simplicity but eventually works its way into the mainstream because of its artistic brilliance!
On the decision to move to Los Angeles, according to creator Ryan Murphy (posting on an after show Q&A via niptuckforum.com:)
I decided to move the show to LA for two reasons.
1) I couldn't stand the damn sets anymore!** We couldn't have one more scene in Christian's tired apartment, or Sean's done kitchen. I thought it would good for the characters, who have been huge in Miami, to move to Los Angeles where they will be little fish in a big pond. It's a way for the team to struggle again, which makes for more dramatic conflict, and brings them together. I mean, Jesus...we can't have Sean threaten to quit ever again!
2) I really want Christian to go Hollywood...to be tempted by the ladies and fame and sex he's hungered for. Sean too...I want him slick and Gucci. Tired of those damn browns!
Playlist: Nip/Tuck - Episode 4.15
from list of songs Compiled by Avalon at niptuckforum.com
but does not include the instrumental bit while sean is talking to matt, at kimber's...
wh rg liked and wanted to identify ... and did: Brian Eno "An Ending"
Apollo: Atmospheres & Soundtracks ~ Brian Eno
An Ending (Ascent) Listen
This Hear: An Ending (Ascent) -I agree fully that this is possibly one of the most beautiful pieces of music ever made. It is the closest that I will ever (physically) come to space travel. Brian Eno, to me, has a body of work that is underappreciated because of its simplicity but eventually works its way into the mainstream because of its artistic brilliance!
Wednesday, December 13, 2006
Best shows of 2006? - sfgate bastard machine comments
« Best shows of 2006?...
Thanks for the opportunity to contribute!
First, my comments. This blog is about 90% responsible for my being converted to The Wire this season. Great, great show. I agree it's one of the top two, but Battlestar Galactica is just so amazing, too--I can't say that The Wire is better. It's just more immediate and gritty because of its setting here in our own world; I think BSG has just as much quality (and haunting moral ambiguity, and refusal to use pat storytelling), but it's easy to overlook but it's easy to overlook its excellence because of the space setting. So anyway--that's my lobby for BSG in the #1 spot, though I know it won't be!
My list: BSG, The Wire, The Office, Daily Show/Colbert, Veronica Mars
Other ones I enjoy but think might not deserve a top-ten spot: Gilmore Girls (not as good now as in earlier years), Big Love (quite good, not transcendent)
And now, if you'll excuse me, it looks like I need to sign up for Showtime...!
Posted By: LoveDarkShows (an alias) | December 01 2006 at 02:56 PM
I'll take the non-Top 10 approach for $500, Tim.
Best Network Program -- Heroes. This is not just about pretty people, this is about PLOT. Lost could learn a LOT from this show. You wonder how Nathan Petrelli's wife ended up in a wheelchair? BANG! They show you, and don't wait six months to do it. The acting is sometimes weak, but MAN the storytelling. These people KNOW where they are going and they are absolutely going to get there in 22 episodes.
Best Comedy --Weeds . I thought I would never forgive Showtime for cancelling Dead Like Me, but between Weeds and Dexter, I'm BACK. Almost every character is laugh out loud funny.
Best New Program that was Cancelled -- Kidknapped. I could watch those actors reading the telephone book and they actually had intelligent dialogue.
Worst Program that I used to Love -- House. The problem with these unlovable characters with weak supporting characters is that if you make the unlovable more lovable you dilute the program, but if you make them Even More Unlovable, eventually even their fans will hate them and stop watching them.
Worst New Series That Previewed Well -- Decisions, decisions. Heads, it's Jericho! Couldn't finish the first episode. It could have been The Nine. Didn't finish their first episode either. me too, those two shows. looked at some of the pilot and d n get int.
Best Television Program EVER - The Wire. No doubt. wow. ////2015/03//17 d n then know quoting Omar "No doubt."
Posted By: kd9 | December 01 2006 at 03:12 PM ////2015/03//17 oh I miss these cmmtrs. kd9. sonof__ who liked vm.? and of course hickcity.
Thanks for the opportunity to contribute!
First, my comments. This blog is about 90% responsible for my being converted to The Wire this season. Great, great show. I agree it's one of the top two, but Battlestar Galactica is just so amazing, too--I can't say that The Wire is better. It's just more immediate and gritty because of its setting here in our own world; I think BSG has just as much quality (and haunting moral ambiguity, and refusal to use pat storytelling), but it's easy to overlook but it's easy to overlook its excellence because of the space setting. So anyway--that's my lobby for BSG in the #1 spot, though I know it won't be!
My list: BSG, The Wire, The Office, Daily Show/Colbert, Veronica Mars
Other ones I enjoy but think might not deserve a top-ten spot: Gilmore Girls (not as good now as in earlier years), Big Love (quite good, not transcendent)
And now, if you'll excuse me, it looks like I need to sign up for Showtime...!
Posted By: LoveDarkShows (an alias) | December 01 2006 at 02:56 PM
I'll take the non-Top 10 approach for $500, Tim.
Best Network Program -- Heroes. This is not just about pretty people, this is about PLOT. Lost could learn a LOT from this show. You wonder how Nathan Petrelli's wife ended up in a wheelchair? BANG! They show you, and don't wait six months to do it. The acting is sometimes weak, but MAN the storytelling. These people KNOW where they are going and they are absolutely going to get there in 22 episodes.
Best Comedy --
Best New Program that was Cancelled -- Kidknapped. I could watch those actors reading the telephone book and they actually had intelligent dialogue.
Worst Program that I used to Love -- House. The problem with these unlovable characters with weak supporting characters is that if you make the unlovable more lovable you dilute the program, but if you make them Even More Unlovable, eventually even their fans will hate them and stop watching them.
Worst New Series That Previewed Well -- Decisions, decisions. Heads, it's Jericho! Couldn't finish the first episode. It could have been The Nine. Didn't finish their first episode either. me too, those two shows. looked at some of the pilot and d n get int.
Best Television Program EVER - The Wire. No doubt. wow. ////2015/03//17 d n then know quoting Omar "No doubt."
Posted By: kd9 | December 01 2006 at 03:12 PM ////2015/03//17 oh I miss these cmmtrs. kd9. sonof__ who liked vm.? and of course hickcity.
Sunday, December 10, 2006
Ark Angels —Myla Goldberg, New York Times Book Review Published: October 15, 2006
Adrian’s work is preoccupied with age-old questions: he wants to know why people die, what meaning can be divined from their lives and their ends, and whether anything lies beyond. In “The Children’s Hospital” these issues express themselves most eloquently through Jemma, whose existence before the flood was transformed by the singular life and violent suicide of her brother, Calvin. Calvin is one of several angels who guide this book to its conclusion, angels who serve not only as dei ex machinis inside the hospital but who, in alternating voices, tell the novel’s story.
The book’s alternating angelic narrators muddy the waters of a story that could have been told more simply and effectively in traditional third person neh I like the angelic interludes — which it feels like most of the time, until an angel interrupts. I did not think the long chapters were note angles. that the fishes were a symbol for "at sea" and the grid square for "on land" - re moments from Jemma's past. while the knives were Ishmael at first I thought Calvin. and the feather pens the recording angel who I thought was female but calls itself brother. ?? or maybe it does not, maybe that was the voice in the fishes sections? bcs there seem to be 'sisters' - who is the other girl besides the hospital angel of preservation? and is Calvin the recording angel? but on p1 that angel says Calvin burned brightly bcs knew his story by heart - perhaps cld be self, but odd. One needs to resort to the pictograms heading each section to discern one angelic voice from another. I am not sure that each is distinct, but seems sloppy if the four pictograms do not correspond to four angels. but?? Ishmael is the accuser. and there is the recorder. and there is the hospital angel of preservation. and a destroyer? "It takes four angels to oversee an apocalypse: one to preserve, one to record, one to accuse, one to destroy." and Calvin is one of them, the destroyer?
it is not fitting together for me....
http://www.mcsweeneys.net/books/childrenshospital/reviews.html2
Adrian’s work is preoccupied with age-old questions: he wants to know why people die, what meaning can be divined from their lives and their ends, and whether anything lies beyond. In “The Children’s Hospital” these issues express themselves most eloquently through Jemma, whose existence before the flood was transformed by the singular life and violent suicide of her brother, Calvin. Calvin is one of several angels who guide this book to its conclusion, angels who serve not only as dei ex machinis inside the hospital but who, in alternating voices, tell the novel’s story.
The book’s alternating angelic narrators muddy the waters of a story that could have been told more simply and effectively in traditional third person neh I like the angelic interludes — which it feels like most of the time, until an angel interrupts. I did not think the long chapters were note angles. that the fishes were a symbol for "at sea" and the grid square for "on land" - re moments from Jemma's past. while the knives were Ishmael at first I thought Calvin. and the feather pens the recording angel who I thought was female but calls itself brother. ?? or maybe it does not, maybe that was the voice in the fishes sections? bcs there seem to be 'sisters' - who is the other girl besides the hospital angel of preservation? and is Calvin the recording angel? but on p1 that angel says Calvin burned brightly bcs knew his story by heart - perhaps cld be self, but odd. One needs to resort to the pictograms heading each section to discern one angelic voice from another. I am not sure that each is distinct, but seems sloppy if the four pictograms do not correspond to four angels. but?? Ishmael is the accuser. and there is the recorder. and there is the hospital angel of preservation. and a destroyer? "It takes four angels to oversee an apocalypse: one to preserve, one to record, one to accuse, one to destroy." and Calvin is one of them, the destroyer?
it is not fitting together for me....
http://www.mcsweeneys.net/books/childrenshospital/reviews.html2
Friday, December 8, 2006
twop Men in Trees (latest post)
51 -I also like that they took several cliches -pregnant ex, city girl embarassed by blue collar guy- and then kind of turned them in on themselves. Ex's baby isn't Jack's. City Girl gets over herself. Since usually in these kinds of situations, everyone behaves as though they are 12. It was nice to see grown ups behaving more or less like grown ups.
yeah I think this show is surprisingly and impressively down-to-earth ~ in how situations resolve. marin returns to have jack's girlfriend answer the door, then jack goes to see her but she's out on a bike ride -so we are heading into the typical scenario where because things keep going wrong they take all episode to meet up and tell each other their feelings- but no right away jack in his truck finds marin on her bike. several times the show has done this none-dragging out, resolving of a typical scenario realistically rather than in the expected more prolonged and dramatic anc cliched way.
52 -That's what I like, too. In every instance, they've taken a cliche that caused me to groan "Oh, no!" and flipped it. Like, Jack stubbornly refusing to read Marin's New Yorker article - he could have remained stubborn indefinitely and never read it or read it and hated what she'd written, but he read it, liked it, and apologized for being stupid about it. Or Marin missing his call - they could have had her pursue the cute publisher guy and never get Jack's message. Instead they sent her back to Elmo under her own steam. Marin knocking on Jack's door to find Lynn standing there in a shirt could have been a disaster to span many episodes. But they resolved it quickly. Same thing with Lynn's not-Jack's-baby. What we expected to happen yep was Marin thinking Jack and Lynn slept together and then to think that Lynn's baby was Jack's and for Marin to go stomping off, rejected, without ever knowing the truth and Jack to not understand why Marin was angry, yada yada yada yep. They didn't even have Lynn "accidentally forget" to tell Jack that Marin stopped by - she told him flat out so he could go chase after Marin and we all could enjoy that amazing reunion scene.
I think the key is that because Marin is a relationship specialist, the writers know better than to use the old Big Misunderstanding to cause conflict. From the get-go Marin has been militant about communicating. huh. After she and Jack slept together and Jack just disappeared, Marin tracked him down and made him talk until they understood each other. Same thing with Lynn - instead of Marin "assuming" the worst, she talked about it in such a way that Jack was able to set her straight. I really appreciate that the writers aren't jerking us around just to create artificial angst and UST. ? unresolved story tension?
p49 begins responses to this episode:
-The Lynn storyline didn't bug as much as I thought it would. Its sort of a triangle without being a triangle. which is realistic.
-I did like how it is just their history and friendship right realistic that is the roadblock, not that's "she's having his baby!!" ..Gotta say, I loved in the Marin/Jack reunion scene before they kiss - how JT kindof leans into Marin the whole time and his eyes never leave her face. His body language is just "I'm so into this woman and I'm so happy to see her" - it's very sexy and endearing.
-I'm glad that the writers didn't use the non-communicating device to the extreme. Usually when the protagonist thinks the ex has slept over at her love interest's house, it gets dragged out into a whole blown-up thing because they don't communicate what really happened. It's a tired and boring device... and I'm glad they didn't go down that road.
-I agree with everyone who said they were glad that the conflict wasn't that Lynn is having his baby. It actually seemed original to have it just be their shared bond.
-I was quite pleased with this as well. Lynn isn't this gorgeous woman who blows Marin out of the water, and the baby isn't Jack's, and doesn't create some stupid, contrived situation where he goes back to Lynn out of some sort of sense of duty. But they do have a history, and with the way Lynn told Marin "Jack is a good friend" you can see that she has a history of leaning on him, and even if nothing happens, the old girlfriend showing up all needy for your current flame can wreck all sorts of havoc on a new relationship. I thought that was a very nice, realistic touch. ..And I really, REALLY like the way they are writing Marin. So many female leads on network shows are just a big ball neuroses and they usually devolve into shrill harpies. But Marin, while she have her own issues, is for the most part a smart gal with a good sense of humor. That is just such a nice change. And who knew that it would be friggin' Anne Heche who would bring a character like that to TV.
-I did like how quickly the 'misconnecting' about Lynn's sleeping at Jack's house was explained. ..I still like Justine Bateman, and thought she had a nice, easy camraderie with Theresa at the Chieftan, AND Jack, at the hospital. And even with Marin.
-All in all, I really enjoyed this episode-- the writers and actors made so many good choices, I was surprised.
51 -I also like that they took several cliches -pregnant ex, city girl embarassed by blue collar guy- and then kind of turned them in on themselves. Ex's baby isn't Jack's. City Girl gets over herself. Since usually in these kinds of situations, everyone behaves as though they are 12. It was nice to see grown ups behaving more or less like grown ups.
yeah I think this show is surprisingly and impressively down-to-earth ~ in how situations resolve. marin returns to have jack's girlfriend answer the door, then jack goes to see her but she's out on a bike ride -so we are heading into the typical scenario where because things keep going wrong they take all episode to meet up and tell each other their feelings- but no right away jack in his truck finds marin on her bike. several times the show has done this none-dragging out, resolving of a typical scenario realistically rather than in the expected more prolonged and dramatic anc cliched way.
52 -That's what I like, too. In every instance, they've taken a cliche that caused me to groan "Oh, no!" and flipped it. Like, Jack stubbornly refusing to read Marin's New Yorker article - he could have remained stubborn indefinitely and never read it or read it and hated what she'd written, but he read it, liked it, and apologized for being stupid about it. Or Marin missing his call - they could have had her pursue the cute publisher guy and never get Jack's message. Instead they sent her back to Elmo under her own steam. Marin knocking on Jack's door to find Lynn standing there in a shirt could have been a disaster to span many episodes. But they resolved it quickly. Same thing with Lynn's not-Jack's-baby. What we expected to happen yep was Marin thinking Jack and Lynn slept together and then to think that Lynn's baby was Jack's and for Marin to go stomping off, rejected, without ever knowing the truth and Jack to not understand why Marin was angry, yada yada yada yep. They didn't even have Lynn "accidentally forget" to tell Jack that Marin stopped by - she told him flat out so he could go chase after Marin and we all could enjoy that amazing reunion scene.
I think the key is that because Marin is a relationship specialist, the writers know better than to use the old Big Misunderstanding to cause conflict. From the get-go Marin has been militant about communicating. huh. After she and Jack slept together and Jack just disappeared, Marin tracked him down and made him talk until they understood each other. Same thing with Lynn - instead of Marin "assuming" the worst, she talked about it in such a way that Jack was able to set her straight. I really appreciate that the writers aren't jerking us around just to create artificial angst and UST. ? unresolved story tension?
p49 begins responses to this episode:
-The Lynn storyline didn't bug as much as I thought it would. Its sort of a triangle without being a triangle. which is realistic.
-I did like how it is just their history and friendship right realistic that is the roadblock, not that's "she's having his baby!!" ..Gotta say, I loved in the Marin/Jack reunion scene before they kiss - how JT kindof leans into Marin the whole time and his eyes never leave her face. His body language is just "I'm so into this woman and I'm so happy to see her" - it's very sexy and endearing.
-I'm glad that the writers didn't use the non-communicating device to the extreme. Usually when the protagonist thinks the ex has slept over at her love interest's house, it gets dragged out into a whole blown-up thing because they don't communicate what really happened. It's a tired and boring device... and I'm glad they didn't go down that road.
-I agree with everyone who said they were glad that the conflict wasn't that Lynn is having his baby. It actually seemed original to have it just be their shared bond.
-I was quite pleased with this as well. Lynn isn't this gorgeous woman who blows Marin out of the water, and the baby isn't Jack's, and doesn't create some stupid, contrived situation where he goes back to Lynn out of some sort of sense of duty. But they do have a history, and with the way Lynn told Marin "Jack is a good friend" you can see that she has a history of leaning on him, and even if nothing happens, the old girlfriend showing up all needy for your current flame can wreck all sorts of havoc on a new relationship. I thought that was a very nice, realistic touch. ..And I really, REALLY like the way they are writing Marin. So many female leads on network shows are just a big ball neuroses and they usually devolve into shrill harpies. But Marin, while she have her own issues, is for the most part a smart gal with a good sense of humor. That is just such a nice change. And who knew that it would be friggin' Anne Heche who would bring a character like that to TV.
-I did like how quickly the 'misconnecting' about Lynn's sleeping at Jack's house was explained. ..I still like Justine Bateman, and thought she had a nice, easy camraderie with Theresa at the Chieftan, AND Jack, at the hospital. And even with Marin.
-All in all, I really enjoyed this episode-- the writers and actors made so many good choices, I was surprised.
the value add. nice.
rwx:Nice example of daily-comix crit (cCrmdgn):
right seen this site before, worth looking at fr time to.
Today 'The Phantom' gives you what in the business world they call the “value add." See, any two-bit superhero can give you explosions and fisticuffs and gunplay and what-not; but with the Big Purple Guy, we stick around to see what happens after the climax. Thrill as the Ghost-Who-Hopefully-Isn’t-Getting-A-Paper-Cut idly rifles through the Doorman’s files! Marvel as he and the freed slaves stand around making idle, awkward small talk waiting for the cops to show up! Look on in wonder as the Phantom gives his cell number and e-mail address to the assembled servants so that they can use him as a reference on their resumes! You’ll pay for the whole seat, but you’ll only need the edge!
nice.
also via rwx (oDinny): Little boy: Look, Mommy, that man is dressed up as the UPS man for Halloween!
UPS man: No, this is my life.
rwx:Nice example of daily-comix crit (cCrmdgn):
right seen this site before, worth looking at fr time to.
Today 'The Phantom' gives you what in the business world they call the “value add." See, any two-bit superhero can give you explosions and fisticuffs and gunplay and what-not; but with the Big Purple Guy, we stick around to see what happens after the climax. Thrill as the Ghost-Who-Hopefully-Isn’t-Getting-A-Paper-Cut idly rifles through the Doorman’s files! Marvel as he and the freed slaves stand around making idle, awkward small talk waiting for the cops to show up! Look on in wonder as the Phantom gives his cell number and e-mail address to the assembled servants so that they can use him as a reference on their resumes! You’ll pay for the whole seat, but you’ll only need the edge!
nice.
also via rwx (oDinny): Little boy: Look, Mommy, that man is dressed up as the UPS man for Halloween!
UPS man: No, this is my life.
so Amy please don't make this any harder...
wide two wheelin bound to no one - fireuptheengine downthefencesgo
freethatsabouttheblacktopthebackground there's always a way out, Where there's a road..............!
and the wheels had ideas of their own
. . . a club to wreck and a town to burn not a scent to waste no rock unturned days like those you got to throw away
that portland week I cant seem to remember
those houston nights they just won't quit my mind
checkatseven doorsatten betterroomsjustupthebend and a thousand more too leftsomewherebehind
wide two wheelin bound to no one - fireuptheengine downthefencesgo freethatsabouttheblacktopthebackground there's always a way out, Where there's a road..............!
to the last free man
aint no mystery can stand
when the key's right there in your hand......!
so Amy please don't make this any harder
this tramp you lost is sure no cause to cry
no flesh & blood could buy my hand you can ask a sad old Georgia man
since I've been gone it's been one long goodbye
wide two wheelin bound to no one - fireuptheengine downthefencesgo
freethatsabouttheblacktopthebackground
there's always a way out, Where there's a road..............!
wide two wheelin bound to no one - fireuptheengine downthefencesgo
freethatsabouttheblacktopthebackground there's always a way out, Where there's a road..............!
and the wheels had ideas of their own
. . . a club to wreck and a town to burn not a scent to waste no rock unturned days like those you got to throw away
that portland week I cant seem to remember
those houston nights they just won't quit my mind
checkatseven doorsatten betterroomsjustupthebend and a thousand more too leftsomewherebehind
wide two wheelin bound to no one - fireuptheengine downthefencesgo freethatsabouttheblacktopthebackground there's always a way out, Where there's a road..............!
to the last free man
aint no mystery can stand
when the key's right there in your hand......!
so Amy please don't make this any harder
this tramp you lost is sure no cause to cry
no flesh & blood could buy my hand you can ask a sad old Georgia man
since I've been gone it's been one long goodbye
wide two wheelin bound to no one - fireuptheengine downthefencesgo
freethatsabouttheblacktopthebackground
there's always a way out, Where there's a road..............!
Monday, December 4, 2006
sfgate Tim Goodman: Best shows of 2006? You decide.:
I can tell you straight away that these series will be on there (just not in which order): "The Wire," "The Sopranos," "Rescue Me"huh, "Dexter," "Weeds," "Entourage"oh, "Prime Suspect" huh?, "It's Always Sunny In Philadelphia," "The Shield," "Battlestar Galactica," something else, another thing, a show here, a show there, something ridiculous, something predictable, blah blah blah. It'll be great. Save your quarters.
Make your picks. But be savvy about it. You wouldn't want me to mock you on The Bastard Machine. And one more thing: I lied. I know my No. 1 series already. And so do you.
sfgate Tim Goodman: "Wire" Ep. 11: "It's morning in Baltimore. Wake up and smell the coffee.": Episode 11 of the best series on television was yet another master class in storytelling. It sent viewers reeling with plot changes, ongoing story development, brilliant dialog and, as usual, magnificent, understated acting. If you want to appreciate for a moment the genius of "The Wire," do it this way: Imagine what a network head would say on notes he gave back to "The Wire" writers on this particular episode. "Too confusing. Too much story. Too much going on. Too ambitious." Don't believe for a second that conversation WOULDN'T happen. The only thing fictional about it is the very notion that a broadcast channel would even attempt something as grand as "The Wire." For the same reason beach reading outsells the classics, the broadcast networks have the most viewers in this country. But to hear David Simon [creator & writer of The Wire] tell it, in his dealings with HBO, the channel remains hands off, letting the creative people it hired to deliver great television do just that. Now, it may be easy for other TV executives to mock the "It's not TV - it's HBO" tagline, but as "The Wire" wraps up this fourth season and we all sit immersed in its absolutely unbelievable creative reach and accomplishment, the question is, where else would you see this? Given the bottom line and the number of viewers, this is nothing short of a private sector arts endowment.
I'm in a thankful mood because, caught up in the density of Ep. 11, I just sat back and admired how astonishing the storytelling is, how strands from past episodes - and not just three or four stands, but a damned rope - all come seamlessly together. But beyond that achievement, something else stood out. An example of the level of quality we're watching, the trust HBO puts in its stable of creative people (and its audience) and the difference in what you get from merely good to, well, "The Wire." Remember the scene where Norman tells Carcetti that Burrell was outside the mayor's office, literally with his hat in hand. ... A minor moment in one enormous episode, but think about what happened there. Viewers were given an unclear moment. Broadcast television has no unclear moments, no gray areas, for viewers. The most intellectual rope strung out on broadcast television is the Dramatic Opposite. A scene will suggest that, say, a perp will give a confession. But no! He pulls out a gun and shoots away instead. You expected A, you got B. That's what passes for depth on most shows. In this scene with Burrell, it was so finely nuanced that viewers might come away with three or four different meanings. Something unexpected happened, but what that was is not entirely evident. And damned if more nuance may have been added to Burrell in the process.
Again, it was a 20 second scene, heavily laden with intrigue. It's a whole different playing field on "The Wire" and on HBO and if you like your Raymond Carver over your Tom Clancy, be thankful we're getting to see a show like this.
and if you like your Raymond Chandler? 8/10/07 I read this bit to rg, recently, not from here, but called up Wire post on the tim goodman blog itself and saw this. rg watching The Wire, thinking it's great.
Exhale. That was a nice bit of TV, no? I couldn't escape the feeling that it was like reading a great book and knowing by the width of the remaining pages that it's all coming together in perfection - but ending too soon. I can't get enough of this season and as the woven stories here overlap in dizzying ways, I couldn't be happier knowing there's another season ahead of us still.
Well, the next couple of weeks promise...everything you could ever want in the way of brilliant television. I just want you to know it's taking all kinds of restraint not to marathon the last three (now two) episodes. That's love, people. You feel me?
I can tell you straight away that these series will be on there (just not in which order): "The Wire," "The Sopranos," "Rescue Me"huh, "Dexter," "Weeds," "Entourage"oh, "Prime Suspect" huh?, "It's Always Sunny In Philadelphia," "The Shield," "Battlestar Galactica," something else, another thing, a show here, a show there, something ridiculous, something predictable, blah blah blah. It'll be great. Save your quarters.
Make your picks. But be savvy about it. You wouldn't want me to mock you on The Bastard Machine. And one more thing: I lied. I know my No. 1 series already. And so do you.
sfgate Tim Goodman: "Wire" Ep. 11: "It's morning in Baltimore. Wake up and smell the coffee.": Episode 11 of the best series on television was yet another master class in storytelling. It sent viewers reeling with plot changes, ongoing story development, brilliant dialog and, as usual, magnificent, understated acting. If you want to appreciate for a moment the genius of "The Wire," do it this way: Imagine what a network head would say on notes he gave back to "The Wire" writers on this particular episode. "Too confusing. Too much story. Too much going on. Too ambitious." Don't believe for a second that conversation WOULDN'T happen. The only thing fictional about it is the very notion that a broadcast channel would even attempt something as grand as "The Wire." For the same reason beach reading outsells the classics, the broadcast networks have the most viewers in this country. But to hear David Simon [creator & writer of The Wire] tell it, in his dealings with HBO, the channel remains hands off, letting the creative people it hired to deliver great television do just that. Now, it may be easy for other TV executives to mock the "It's not TV - it's HBO" tagline, but as "The Wire" wraps up this fourth season and we all sit immersed in its absolutely unbelievable creative reach and accomplishment, the question is, where else would you see this? Given the bottom line and the number of viewers, this is nothing short of a private sector arts endowment.
I'm in a thankful mood because, caught up in the density of Ep. 11, I just sat back and admired how astonishing the storytelling is, how strands from past episodes - and not just three or four stands, but a damned rope - all come seamlessly together. But beyond that achievement, something else stood out. An example of the level of quality we're watching, the trust HBO puts in its stable of creative people (and its audience) and the difference in what you get from merely good to, well, "The Wire." Remember the scene where Norman tells Carcetti that Burrell was outside the mayor's office, literally with his hat in hand. ... A minor moment in one enormous episode, but think about what happened there. Viewers were given an unclear moment. Broadcast television has no unclear moments, no gray areas, for viewers. The most intellectual rope strung out on broadcast television is the Dramatic Opposite. A scene will suggest that, say, a perp will give a confession. But no! He pulls out a gun and shoots away instead. You expected A, you got B. That's what passes for depth on most shows. In this scene with Burrell, it was so finely nuanced that viewers might come away with three or four different meanings. Something unexpected happened, but what that was is not entirely evident. And damned if more nuance may have been added to Burrell in the process.
Again, it was a 20 second scene, heavily laden with intrigue. It's a whole different playing field on "The Wire" and on HBO and if you like your Raymond Carver over your Tom Clancy, be thankful we're getting to see a show like this.
and if you like your Raymond Chandler? 8/10/07 I read this bit to rg, recently, not from here, but called up Wire post on the tim goodman blog itself and saw this. rg watching The Wire, thinking it's great.
Exhale. That was a nice bit of TV, no? I couldn't escape the feeling that it was like reading a great book and knowing by the width of the remaining pages that it's all coming together in perfection - but ending too soon. I can't get enough of this season and as the woven stories here overlap in dizzying ways, I couldn't be happier knowing there's another season ahead of us still.
Well, the next couple of weeks promise...everything you could ever want in the way of brilliant television. I just want you to know it's taking all kinds of restraint not to marathon the last three (now two) episodes. That's love, people. You feel me?
marlon getting out of ms-13 gang, gets signs ---tattoos - on face, tears - one for every kill -?--- removed, tries to get a job but no one will hire someone who has been convicted of a crime. and then his gang members chase and beat and cut him. I liked him and found it very sad.
twop p483 (re 2nd episode of 3rd season) -And it’s a testament to this show that in one episode they can flesh out a charactor like Marlon enough that I reallly cared for him.
also in same episode, kiki the guerrilla died. I don't want to think about that, too sad.
on most recent (season four) episode, reefer died. james killed him for organs. sean had invited him over for christmas and we him preparing a box of his old suits as gift. very sad.
on third season premiere, poor denny the husband of mama boone, shoulders shaking sobbing at her funeral, and both sean and christian are just mean to him. so that might be the worst sad I feel at this show, because I hate that they showed him no kindness at all. shoulders shaking poor baby.
twop p483 (re 2nd episode of 3rd season) -And it’s a testament to this show that in one episode they can flesh out a charactor like Marlon enough that I reallly cared for him.
also in same episode, kiki the guerrilla died. I don't want to think about that, too sad.
on most recent (season four) episode, reefer died. james killed him for organs. sean had invited him over for christmas and we him preparing a box of his old suits as gift. very sad.
on third season premiere, poor denny the husband of mama boone, shoulders shaking sobbing at her funeral, and both sean and christian are just mean to him. so that might be the worst sad I feel at this show, because I hate that they showed him no kindness at all. shoulders shaking poor baby.
Saturday, December 2, 2006
Nip/Tuck 3.1 Mama Boone twop p445ff
-between the wonderful "stuck in the middle" and Billie gotta love the music!
stuck in the middle with you fun - Sean pulling out the saline implant wh is everywhere
ooh Billie Holiday fun also - while carrying out Mama on the couch "Dance me to the end of love". dealing w very unpleasant happenings -- this music -- this is the life goes on ness that I feel in this show.
-The spots that sounded like Billie Holiday were actually modern singer Madeleine Peyroux. Dance Me to the End of Love, from a Leonard Cohen poem, is one of my favorite songs, but I thought it was a jarring choice for that scene (where they move Mama out of the house on the couch litter.) The actress who portrayed Mama was spectacular. I think she might be the same woman who played the mom in What's Eating Gilbert Grape.
-the chemistry between Julian McMahon/Brunos Campos is off the charts.
-whole lotta something between Christian and Quentin.
"I just bought you a drink baby the least you could do is let me see it." I like the wry small laugh christian makes in reply
-what was that between Christian and Quentin? Creepy and sexual at the same time...
-Christian seemed almost submissive in the Costas scene - veeeeeeeeery weird and creepy. I'm interested in seeing more of that interaction.
-Julian really oozes sex appeal with everyone he's with. That was quite the hot scene with the new doctor.
and so sweet looking right at mama, having lowered his surgical mask, "will I do?" to hold her hand..
this character is so earnest. to kimber, who says his proposing marriage is out of the blue, he says "maybe I need to open up. and you're the one who's here.you're always here for me." and she says you didn't even get off the couch, so he does, but assumes no supposed appropriate manner, just 'ok will this do?' and, right:
-Christian told Kimber, "I'm back!" with this sweet hopeful voice while he's still, like, half-banging some strange woman..
-I loved the look on Christian's face when he invited Kimber into it.
-My favorite line of the night came from Christian -- as always. "It's me, baby! I'm back!" had me rolling.
-I was so proud of my little Porn Star Barbie in the "proposal" scene. And her "Who ARE you?" made me laugh out loud.
-Mama Boone was fascinating.
-that was so sad. Christian holding her hand and relating was just...and how much did I want to hit her husband, yet felt his pain? why forgiving of Mama herself but not of her husband? at the funeral Sean and Christian so mean to him, I really disliked it, he was so sad shaking shoulders and he said that she may not look like much to you and your south beach kind but to me she is Uma in Kill Bill. oh. and he wanted the couch because it was part of her and she was part of him. and Sean was so mean to him about it. why. I can't forgive how mean. no one commenting on this?
-I liked the Momma Boone story. Sean was so kind to her while everyone else was staring at her like an animal at the zoo. And his request for a tarp to block the view of the gawkers was very touching. The surgery scene was pretty intense (as always). And Christian offering to hold her hand and talking to her was so sweet.
-I was repulsed by the couch lady story, only because I remember reading the real life story about a year ago. Everyone else was figuratively stuck and had to 'shit or get off the pot' as Jude so eloquently put it.
oh I didnt even think about it. theme. but I liked that when, during surgery, mama said daughter got so mad at her, at offering someone help and support and them not taking it, and sean looked meaningfully at christian, christian rolled his eyes.
-The boys are back and I'm still loving them as much as they love each other.
-First, I thought it was over at 11:10. Mama’s funeral seemed a natural ending place. Then came the next twenty minutes, which completely messed up my head. I have no idea what to think anymore. Except maybe…shoes on the bed, Christian? oh was it an hour and a half long (special for the premiere)? yes I guess so. I also, when the scene after the funeral came on with the detective and christian, even asked wait did you see credits? bcs tht maybe dvd had gone straight into the next episode.
hmm there's 20 pages easy, re this episode, in the twop thread. 245 - 270 I guess so that's 25 pgs. are there are other non-twop shows (not recapped) that get that many comments? I guess this episd probably got more than usual bcs it was a much-awaited season premiere. I wonder why twop doesnt recap nip tuck though..
-between the wonderful "stuck in the middle" and Billie gotta love the music!
stuck in the middle with you fun - Sean pulling out the saline implant wh is everywhere
ooh Billie Holiday fun also - while carrying out Mama on the couch "Dance me to the end of love". dealing w very unpleasant happenings -- this music -- this is the life goes on ness that I feel in this show.
-The spots that sounded like Billie Holiday were actually modern singer Madeleine Peyroux. Dance Me to the End of Love, from a Leonard Cohen poem, is one of my favorite songs, but I thought it was a jarring choice for that scene (where they move Mama out of the house on the couch litter.) The actress who portrayed Mama was spectacular. I think she might be the same woman who played the mom in What's Eating Gilbert Grape.
-the chemistry between Julian McMahon/Brunos Campos is off the charts.
-whole lotta something between Christian and Quentin.
"I just bought you a drink baby the least you could do is let me see it." I like the wry small laugh christian makes in reply
-what was that between Christian and Quentin? Creepy and sexual at the same time...
-Christian seemed almost submissive in the Costas scene - veeeeeeeeery weird and creepy. I'm interested in seeing more of that interaction.
-Julian really oozes sex appeal with everyone he's with. That was quite the hot scene with the new doctor.
and so sweet looking right at mama, having lowered his surgical mask, "will I do?" to hold her hand..
this character is so earnest. to kimber, who says his proposing marriage is out of the blue, he says "maybe I need to open up. and you're the one who's here.you're always here for me." and she says you didn't even get off the couch, so he does, but assumes no supposed appropriate manner, just 'ok will this do?' and, right:
-Christian told Kimber, "I'm back!" with this sweet hopeful voice while he's still, like, half-banging some strange woman..
-I loved the look on Christian's face when he invited Kimber into it.
-My favorite line of the night came from Christian -- as always. "It's me, baby! I'm back!" had me rolling.
-I was so proud of my little Porn Star Barbie in the "proposal" scene. And her "Who ARE you?" made me laugh out loud.
-Mama Boone was fascinating.
-that was so sad. Christian holding her hand and relating was just...and how much did I want to hit her husband, yet felt his pain? why forgiving of Mama herself but not of her husband? at the funeral Sean and Christian so mean to him, I really disliked it, he was so sad shaking shoulders and he said that she may not look like much to you and your south beach kind but to me she is Uma in Kill Bill. oh. and he wanted the couch because it was part of her and she was part of him. and Sean was so mean to him about it. why. I can't forgive how mean. no one commenting on this?
-I liked the Momma Boone story. Sean was so kind to her while everyone else was staring at her like an animal at the zoo. And his request for a tarp to block the view of the gawkers was very touching. The surgery scene was pretty intense (as always). And Christian offering to hold her hand and talking to her was so sweet.
-I was repulsed by the couch lady story, only because I remember reading the real life story about a year ago. Everyone else was figuratively stuck and had to 'shit or get off the pot' as Jude so eloquently put it.
oh I didnt even think about it. theme. but I liked that when, during surgery, mama said daughter got so mad at her, at offering someone help and support and them not taking it, and sean looked meaningfully at christian, christian rolled his eyes.
-The boys are back and I'm still loving them as much as they love each other.
-First, I thought it was over at 11:10. Mama’s funeral seemed a natural ending place. Then came the next twenty minutes, which completely messed up my head. I have no idea what to think anymore. Except maybe…shoes on the bed, Christian? oh was it an hour and a half long (special for the premiere)? yes I guess so. I also, when the scene after the funeral came on with the detective and christian, even asked wait did you see credits? bcs tht maybe dvd had gone straight into the next episode.
hmm there's 20 pages easy, re this episode, in the twop thread. 245 - 270 I guess so that's 25 pgs. are there are other non-twop shows (not recapped) that get that many comments? I guess this episd probably got more than usual bcs it was a much-awaited season premiere. I wonder why twop doesnt recap nip tuck though..
Friday, March 31
Man. Boston Legal is like....a baseball world series shut-out. With all the BL players hitting home runs in every game. Just mind blowing. And I don't even like baseball.
174
Posted by m at 3/31/2006 08:07:00 PM
Tuesday, October 25
Boston Legal
Denise just gave a Kick.Ass.opening. really really great. it worked. they got a settlement of 1.4 million (the previous offer was like 2ooo). at the table, her 1st yr associate Sara saw the number and said Ohmygod. then, as if just to Denise, that's too low. Denise said to the client, I think there's more. He said, this is good. She said, ok. // then quick to the opposing counsel: so we go back to court. he said, ok 1.7 million that's as high as I am authorized to go. she said, paid tomorrow? he said, yes. she said, Done.
the client - a man whose wife of 37 yrs died because of a car defect (in the garage it ignited a housefire without being on at all)- started to thank Denise then said he had to go to the bathroom. she said, I would never have let the 1.4 go. he said, I don't want to cry in front of you.
Denise said to Sara, if you ever want to join my weekly poker game, you are welcome.
Sara: I just want to say... / Denise: you have other work to do? go do it.
because she was starting to cry also.
--
closing scene:
Alan Shore (James Spader) : Ralph Waldo Emerson wrote that a friend is the masterpiece of nature. marooram: ...I don't think I understood that until I met you, Denny.
Denny Crane (Wllm Shatner) : I am not going to sleep with you.
Alan: Just the same.
always this formula but they get me every time.
Posted by m at 10/25/2005 10:05:00 PM
http://thedayislikewidewater.blogspot.com/search?q=boston+legal+game
Man. Boston Legal is like....a baseball world series shut-out. With all the BL players hitting home runs in every game. Just mind blowing. And I don't even like baseball.
174
Posted by m at 3/31/2006 08:07:00 PM
Tuesday, October 25
Boston Legal
Denise just gave a Kick.Ass.opening. really really great. it worked. they got a settlement of 1.4 million (the previous offer was like 2ooo). at the table, her 1st yr associate Sara saw the number and said Ohmygod. then, as if just to Denise, that's too low. Denise said to the client, I think there's more. He said, this is good. She said, ok. // then quick to the opposing counsel: so we go back to court. he said, ok 1.7 million that's as high as I am authorized to go. she said, paid tomorrow? he said, yes. she said, Done.
the client - a man whose wife of 37 yrs died because of a car defect (in the garage it ignited a housefire without being on at all)- started to thank Denise then said he had to go to the bathroom. she said, I would never have let the 1.4 go. he said, I don't want to cry in front of you.
Denise said to Sara, if you ever want to join my weekly poker game, you are welcome.
Sara: I just want to say... / Denise: you have other work to do? go do it.
because she was starting to cry also.
--
closing scene:
Alan Shore (James Spader) : Ralph Waldo Emerson wrote that a friend is the masterpiece of nature. marooram: ...I don't think I understood that until I met you, Denny.
Denny Crane (Wllm Shatner) : I am not going to sleep with you.
Alan: Just the same.
always this formula but they get me every time.
Posted by m at 10/25/2005 10:05:00 PM
http://thedayislikewidewater.blogspot.com/search?q=boston+legal+game
Friday, December 1, 2006
I been losing so long that it feels like winning
kick me and I'll come up grinnin
...the future .. all a mirror of the past
the I dont know whereI'm going but I'm going nowhere in a hurry blues
Nowhere in a Hurry Blues (Steve Goodman) Miss Beverly Jones had a Ph. D. in ... "I don't know where I'm going But I'm going nowhere in a hurry," blues
kick me and I'll come up grinnin
...the future .. all a mirror of the past
the I dont know whereI'm going but I'm going nowhere in a hurry blues
Nowhere in a Hurry Blues (Steve Goodman) Miss Beverly Jones had a Ph. D. in ... "I don't know where I'm going But I'm going nowhere in a hurry," blues
The word got out on the day she was born
But she was twenty years getting the news
And a taste of that, "I don't know where I'm going
But I'm going nowhere in a hurry," blues
mmm give my love to marie. and tvz. and ending with - merle travis?
rpj: that about does it for me. thanks for listenin', thanks for the calls, thanks for everything. stay inside, stay warm, do all those good things. talk to you all next week, maybe I'll be in time. it's hard to say. squirrel's here. squirrel and I are back together again. it's like a buck owens song in here.
sq: I do have some advice for cold weather, for people who aren't used to it.
rpj: southerners like me?
sq: right... use your radiators as towel warmers, nothing like having a warm towel when you get out of that shower. especially if you live in a place like me where the wind comes right through the windows.
rpj: what are we starting with?
sq: "When You Awake"
rpj: ...you will be cold and it will be snowing outside.
--da du da du du du--
...we're just teasing you with that bit of the end of The Night They Drove Old Dixie Down.
rpj: that about does it for me. thanks for listenin', thanks for the calls, thanks for everything. stay inside, stay warm, do all those good things. talk to you all next week, maybe I'll be in time. it's hard to say. squirrel's here. squirrel and I are back together again. it's like a buck owens song in here.
sq: I do have some advice for cold weather, for people who aren't used to it.
rpj: southerners like me?
sq: right... use your radiators as towel warmers, nothing like having a warm towel when you get out of that shower. especially if you live in a place like me where the wind comes right through the windows.
rpj: what are we starting with?
sq: "When You Awake"
rpj: ...you will be cold and it will be snowing outside.
--da du da du du du--
...we're just teasing you with that bit of the end of The Night They Drove Old Dixie Down.
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