With this in mind, I will address two "Westerns" that I recently watched: "The Wild Bunch" (1969) and "The Assassination of Jesse James by the Coward Robert Ford" (2007).
Wednesday
Assassination in and/or of the Western
I recently spoke with a friend who told me about an article (I believe by Zizek) that discussed how the Western eventually became impossible to make and that we were left with "meta-westerns." (Bryan, forgive me if I am doing a poor job of recounting.) This trend began with "Shane" (which I have not actually seen), in which the entire Western unfolds from the perspective of the child. From then on, Westerns were no longer possible; instead, "Westerns" were stories that unfolded from the gaze of someone actually watching the real Western take place (e.g. "Shane's" child).
Tuesday
Dolphins are Bodhisattvas
This will be a brief post instead of a review since I am tired of writing them.
Instead, I am endorsing the film (and the hype behind the film) "The Cove."
In case you do not pay attention to the Oscars beyond Best Film, Director, Actors, Actresses, and Animated Feature, "The Cove" won this year's Best Documentary. Rightfully so. The effort to make this movie is impressive, and the poignancy of the camerawork are all worth the hype and praise. I fully recommend this film as a film.
I also fully recommend this film as a pedagogical device.
I also fully recommend this film as a political piece.
Basically, you should see it. Then, you should check out this site to support the cause. Then you should check out this movie. It is one of my favorites. Then you should check out this site to support the cause.
Then you should go get a snorkel and some O2 tanks and get your ass in the water. See you there.
Instead, I am endorsing the film (and the hype behind the film) "The Cove."
In case you do not pay attention to the Oscars beyond Best Film, Director, Actors, Actresses, and Animated Feature, "The Cove" won this year's Best Documentary. Rightfully so. The effort to make this movie is impressive, and the poignancy of the camerawork are all worth the hype and praise. I fully recommend this film as a film.
I also fully recommend this film as a pedagogical device.
I also fully recommend this film as a political piece.
Basically, you should see it. Then, you should check out this site to support the cause. Then you should check out this movie. It is one of my favorites. Then you should check out this site to support the cause.
Then you should go get a snorkel and some O2 tanks and get your ass in the water. See you there.
Sunday
I Would Pay For Some of This
3/23: Eager eyes
In its 48th year, Ann Arbor Film Festival is the longest running experimental film festival in the world--or so they claim, and I am disinclined to investigate. I am generally intrigued by the ways that people use moving media to convey the human experience or the human imagination, so I am generally intrigued by the films at the festival. As many of you may or may not know, I tend to take advantage of freebies and have a good ear for good deals. So, I am volunteering 15 hours for the festival this weekend in exchange for a free weekend pass. I prepare my eyes for the avant garde and abstract.
(N.B. I am not preparing my eyes for the avant garde as Bunuel and Dali would:
Ew. I am sorry. Though the rest of "Un Chien Andalou" is strange and occasionally funny in its absurdity. Deemed a "classic" by many, I would hesitate to actually recommend unless you plan on partaking in a dialogue about cinema, theory, genre, and the avant garde in film. Basically, that film would be a crucial part of the primer for the AA Filmfest.)
In its 48th year, Ann Arbor Film Festival is the longest running experimental film festival in the world--or so they claim, and I am disinclined to investigate. I am generally intrigued by the ways that people use moving media to convey the human experience or the human imagination, so I am generally intrigued by the films at the festival. As many of you may or may not know, I tend to take advantage of freebies and have a good ear for good deals. So, I am volunteering 15 hours for the festival this weekend in exchange for a free weekend pass. I prepare my eyes for the avant garde and abstract.
(N.B. I am not preparing my eyes for the avant garde as Bunuel and Dali would:
Ew. I am sorry. Though the rest of "Un Chien Andalou" is strange and occasionally funny in its absurdity. Deemed a "classic" by many, I would hesitate to actually recommend unless you plan on partaking in a dialogue about cinema, theory, genre, and the avant garde in film. Basically, that film would be a crucial part of the primer for the AA Filmfest.)
Friday
FINALLY!
Ladies and gentlemen, I am pleased to say that after 257 applications (I have a list) of one sort or another since this time last year that I have found employment!!!
Here.
"Really good American food." That's right.
Not only do I feel total relief that someone out there thinks I am capable of working for them, I am inundated with feelings of validation that it is a renowned employer and organization. Zingerman's has a reputation for excellence in product, service, and management. They value every aspect of their organization, and I am proud and privileged to be a part of that.
I look forward to good food, engaging conversations on good food, encouraging environments to foster good food [service], new friends formed around good food, etc.
Basically, I need to start studying so I can fit in with a group of people who have an encyclopedic knowledge of food. I am excited. Fin.
Here.
"Really good American food." That's right.
Not only do I feel total relief that someone out there thinks I am capable of working for them, I am inundated with feelings of validation that it is a renowned employer and organization. Zingerman's has a reputation for excellence in product, service, and management. They value every aspect of their organization, and I am proud and privileged to be a part of that.
I look forward to good food, engaging conversations on good food, encouraging environments to foster good food [service], new friends formed around good food, etc.
Basically, I need to start studying so I can fit in with a group of people who have an encyclopedic knowledge of food. I am excited. Fin.
Wednesday
I [sic] New York
Recently, I have been considering how random my film reviews are: There is no thematic order to the movies I see, and this may contribute to an illegitimacy in my blogging. Then, I remember that this is a blog that follows my travels, adventures, thoughts, and reflections. There is no particular order to these aspects of my life, so the random reviews (courtesy, in part, of the unsystematic order of my Netflix queue) tow the the line of my life. I am sorry if you do not appreciate.
*****
While I am still a huge fan of "Paris, je t'aime," I cannot say my enthusiasm for the city-scape montage of love applies to the poorly planned and odiously executed "New York, I Love You."
(I forgot that preview features Phoenix--perhaps the most redeeming quality of the film.)
*****
While I am still a huge fan of "Paris, je t'aime," I cannot say my enthusiasm for the city-scape montage of love applies to the poorly planned and odiously executed "New York, I Love You."
(I forgot that preview features Phoenix--perhaps the most redeeming quality of the film.)
Saturday
"Lost" Thoughts: Part IV
Despite the fourth season of "Lost" being about ten episodes shorter than any of the first three (season one, season two, and season three), JJ Abrams and co. generated twice as many questions as they usual do in a season. That being said, I am not sure how much space I can afford for an actual review of the season. I will do my best to recap my thoughts on the season, the show, and where it is going before launching into a recap on questions unanswered and a listing of newly generated questions. Again, I list all these questions because creating and monitoring the progress of questions is the premise and basis for success of "Lost."
With much further ado, "Lost" takes us off the island and brings us to a strange non-island-non-off-island existence within season four. The show has begun leaning away from the petty island drama for the sake of pursuing more confusion about physics, chemistry, space, and time--it is too bad Arntz is not around to help explain some of the conundrums.
At the end of season three, we find out that some Oceanic 815 survivors make it off the island and back to civilization--thanks Beardy Jack. In season four, we have flashes forward to this post-island life for the Oceanic 815 and island survivors (coined The Oceanic 6), flashes backwards to explain more about character origins, and what amount to flashes of the "present" life of the characters on the island. Ultimately, this technique leads to a chase that parallels some of the jungle chases on the island: The present on the island is trying to catch-up to the flashes forward (Oceanic 6 time) that continue to develop in a forward-moving manner. There are some excellent "12 Monkeys"-esque moments during the season--particularly in "The Constant." This also helps to harp on the "Alice in Wonderland" motif that resurfaces throughout the show.
This shift in story-telling provides a new layer of intrigue and, thus, enjoyment for the audience. We sort of know where things are headed and we sort of know where things are, but we do not really know at all how the two are connected. Or if they are connected.
Terry O'Quinn is still the stand-out performer, and the show is trimming some of the fat (N.B. A reduction of Claire). The writers seems to be tired of the Jack-Kate-Sawyer triangle and have shifted more towards the evolution of their friendships and romances without struggle between the males. I eagerly await how Abrams and co. will handle the explanation of how big Walt has gotten even though not a significant amount of internal time has passed.
With one more season of Netflix watching left, I will soon be caught-up to current "Lost" time...Whatever time that may be: Three out of Five stars
Here are the questions left over from Season 1:
With much further ado, "Lost" takes us off the island and brings us to a strange non-island-non-off-island existence within season four. The show has begun leaning away from the petty island drama for the sake of pursuing more confusion about physics, chemistry, space, and time--it is too bad Arntz is not around to help explain some of the conundrums.
At the end of season three, we find out that some Oceanic 815 survivors make it off the island and back to civilization--thanks Beardy Jack. In season four, we have flashes forward to this post-island life for the Oceanic 815 and island survivors (coined The Oceanic 6), flashes backwards to explain more about character origins, and what amount to flashes of the "present" life of the characters on the island. Ultimately, this technique leads to a chase that parallels some of the jungle chases on the island: The present on the island is trying to catch-up to the flashes forward (Oceanic 6 time) that continue to develop in a forward-moving manner. There are some excellent "12 Monkeys"-esque moments during the season--particularly in "The Constant." This also helps to harp on the "Alice in Wonderland" motif that resurfaces throughout the show.
This shift in story-telling provides a new layer of intrigue and, thus, enjoyment for the audience. We sort of know where things are headed and we sort of know where things are, but we do not really know at all how the two are connected. Or if they are connected.
Terry O'Quinn is still the stand-out performer, and the show is trimming some of the fat (N.B. A reduction of Claire). The writers seems to be tired of the Jack-Kate-Sawyer triangle and have shifted more towards the evolution of their friendships and romances without struggle between the males. I eagerly await how Abrams and co. will handle the explanation of how big Walt has gotten even though not a significant amount of internal time has passed.
With one more season of Netflix watching left, I will soon be caught-up to current "Lost" time...Whatever time that may be: Three out of Five stars
Here are the questions left over from Season 1:
What's the deal with the moving black smoke?
What did the others want with Walt?
What is so special about the numbers?
What illness took Rousseau's people?
Where is this island?
What's with Locke's occasional paralysis and even more occasional feeling in his legs?
What made him move to the box company?
What's with Jack's dad on the island?
What is Walt's super power?
What's the point of Vincent?
Season two left overs:
Why do people see a dripping wet Walt when he's not actually around?
What is he saying in said incidents?
What is the significance of the hatch names?
Why was the electromagnetic facility built?
Why was it well-stocked with weapons?
What's with Kate's black horse?
Was Sawyer really holding the spirit of Kate's dead dad?
Is this all going to be some sort of religious metaphor?
Why didn't the black smoke take Echo?
What was flashing in the black smoke?
What did the blacklit blast door say?
Why did the Dharma Initiative drop more food?
Why does Hurley start seeing Dave again?
Why didn't Ben run away when the blast doors had fallen?
Why was Desmond in prison?
What's with the big freak bird that seems to only show up once a season?
What's with the statue foot with four toes?
And now the slew of questions from the third season:
What's Carl's back story?
Why does Jack hear his dad on the intercom?
Why was Locke on that orchard?
Why can Desmond see the future?
Who is the guy who looks like Echo's brother but says he is not him?
Why was Jack in Phucket?
What is the meaning of Juliette's mark?
Why was Sayid in Paris?
How does Mikhael keep surviving death?
What happens to the gull carrying Claire's message?
What happened to Locke's spot on the weed farm?
How did Locke's dad get on the island?
How did Abrams and Co. get Billy Dee Williams to guest?
What was the point of Nickie and Paulo? ("Who the hell is Nickie?"--Sawyer)
Will those two stay buried? ("Things have a way of not staying buried"--Locke)
Why didn't the monster take Juliette and Kate?
Why can't the monster cross "the others'" fence?
What is the story with Jacob?
Who is the man from Tallahasee?
Why was Desmond at an abbey?
Why do men have higher sperm counts on the island?
Why do "the others" idolize Locke?
Are the people on the island dead? Are these layers of hell?
Why hasn't Richard aged?
Why is Ben in charge?
What does Jacob need Locke's help with?
That brings us to questions about season four:
Why does Hurley see the water of the ocean in the mirror in the police station?
Who pounds on the glass of said mirror?
Who is Matthew Abbaddon?
Why is he visiting Hurley?
Who are the "they" Abbaddon talks about to Hurley?
Why are only some people allowed to see Jacob's cabin?
Who was in Jacob's cabin when Hurley peeked in?
How does the cabin move?
How does Hurley make it disappear?
How does Charlie visit Hurley in the hospital?
How does Hurley make Charlie disappear?
Who needs Hurley--according to Charlie?
Why does the woman who Miles visits have a photo of young Echo?
What's the tool Miles uses?
How can he talk to ghosts?
Why was there a Dharma Initiative polar bear skeleton in the desert?
Why was the "rescue team" of Charlotte, Miles, Farraday, and Lupides put together?
Is Abbaddon Naomi's boss?
Does he work for Widmore?
Why are Widmore and Ben at war?
Where is Mikhail?
Is Locke's tyranny supposed to be a religious zealotry metaphor?
Why didn't Dan's experiment with the "payload" work?
Why was the payload 31 minutes late?
Why does Ben have so many passports?
What's Oceanic 6 Sayid's list?
Why is there only one bearing from the island that works?
Why does Miles want $3.2 million?
Who does Miles actually work for?
Why can't Dan remember the playing cards?
Why do people with radiation/EMP exposure get disoriented going to and from the island?
What triggers the space/time shifts that Des goes through?
What's in the Black Rock journal? Tell us more about Tovard Hensel.
Why is Widmore so fascinated with the Black Rock?
Was that seriously a Christmas episode?!?
Why was Dan pleasantly surprised about Des being a constant?
Does island Dan know Des from Oxford Dan?
What is Harper's deal? How come she can disappear with the whispers?
Who filmed Widmore beating Ben's accomplice?
Who are Zach and Emma?
Why does Michael tell Des and Sayid not to trust the captain when he can, in fact, be trusted?
Who faked the Oceanic 815 deep-ocean recovery? Ben or Widmore? Why?
Why does Ben end up in the Sahara (after turning the island's wheel)?
Why does Sawyer suddenly care so much about Claire?
Is that lame action sequence at "the others" village necessary? Everyone gets shot but Sawyer?
Why does Ben use "Dean Moriarity" as his alias in Tunisia?
Why does he receive a funny look from the hotel clerk?
Who killed Nadia?
How did the Rousseau-Ben love go down to produce Alex?
Ben and Widmore have rules of war?
What's with the door in Ben's house?
What's with the temple?
What's with the hieroglyphics?
Did Ben trigger the black smoke? How? How do the mercenaries survive?
Why does Dan lie about the morse code?
Why can't Ben kill Widmore?
What is Widmore talking about with regards to Ben's origins?
Will Ben kill Penelope? Will Desmond get in the way?
When and how does Jack come around to Kate and Aaron?
Why does Hurley think that the Oceanic 6 are all dead?
What happened to Claire and Jack's dad?
What's Horace's story? Bloody nose?
Why does child Locke draw the smoke monster? Does it come from man-made fire?
Why does child Locke pick the knife? Does that link with his struggle to find Jacob and answers?
Why does the secondary protocol have the Dharma Initiative logo? Was the D.I. Widmore's?
What's with the references to Geronimo Jackson?
What's with the references to Portland?
Why does Abbaddon visit Locke in the hospital?
Who is Abbaddon with? Jacob? Richard? Ben? Widmore?
Is the island in the future or the past?
Why is Claire in the cabin? Jack's dad?
Who is Decker?
What is Charlotte's "getting back to the island" all about? Has she actually been there? Is she time traveling?
Where is Dr. Hallowax?
Why did the final orientation tape auto-rewind before finishing?
What did Sawyer whisper to Kate?
Was Hurley playing chess with Echo?
Did Jeremy Bentham commit suicide?
Did anyone survive the boat explosion?
What is San doing with Widmore?
Where did the island go? How did it go?
What's Claire doing in Kate's house? How'd she get there?
What happens with Dan's raft?
Why is John Locke going around as Jeremy Bentham?
How did he die?
Farewell to brother Desmond.
Last question: Abrams, why bother with the following clips?
Friday
Hip-hip (for now)
Though I have had certain struggles and bad luck this past year and though I continue to encounter difficulty with employment (more on this later), I had the fortunate circumstance of being able to choose between two fantastic programs/opportunities for the coming year:
1) American Jewish World Service--World Partners Fellowship
2) A teaching program in Shenzhen, China
After spending much anxiety-prone time considering these two options and weighing the benefits and risks/costs, I have come to decide on my future. Regardless of the decision, I have felt such a release knowing that I have been selected for anything--and to top it off, two things which I would love to do. A certain validating relief pulses through me. This feeling is so foreign, of late, that I am not entirely convinced that I will be going abroad on an awesome program. Sort of surreal.
Anyways, I have decided to go teach in China! I am enthusiastic about this decision and eager for an August when I will be learning Mandarin at Peking University and exploring the stones of the Great Wall. Cue jealousy.
The reasons for the decision mostly reduce to the following: The China program offers more support than AJWS. If you are not interested in reading the details from the aforementioned links, I will summarize some important factors (so you can see where my thought process is these days).
AJWS
-Opportunity for individual exploration in rural India
-Much more roughing it
-Connection to Jewish community
-Based on the grueling interview process and the caliber of the other candidates, this program was guaranteed to be rewarding
-Little contact with the outside world, little technological access
-High time commitment with little opportunity to travel, explore, be alone
-Indulge my social justice passions
China
-Be with C
-Paid, insurance included
-Advanced Mandarin education and TEFL Certificate included
-Flight reimbursement, travel bonus at completion of contract
-On-the-ground advisors
-100 fellow program participants in the same BIG city
-Access to Hong Kong and ample time to take advantage of travel, exploration
-Opportunity for individual and group exploration in East and Southeast Asia
-High connectivity to outside world, high technological access
-Moderate time commitment with lots of opportunity to travel, explore, be alone
-Indulge my passion for pedagogy
So yeah! I am enthusiastic to get from here to Shenzhen in September as quickly as possible. To contribute to this, I am continuing my streak of unemployment (sort of, since I freelance write). I trial-shifted at Zingerman's Roadhouse the other day, and I think it went well--fingers are crossed! Otherwise, I am dependent upon volunteering for paid studies. Soon, I may resort to being a figure model.
Life is good, though I retain a "cautious optimism" (as The A.V. Club says in their Newswire sign-offs) simply because I know how easily the rug can be yanked-out from under me.
Recent Tune(s): Beach House's "Teen Dream," Laura Veirs's "July Flame," Starf*cker (I loathe that name)
Recent Film(s): On a western kick...More in future posts. "The Wild Bunch" and "Appaloosa"
Recent Lit(s): "Amsterdam" by McEwan, Online Travel Mag
Recent Wish-List Addition(s): HBO to watch "Treme," to see "Iron Man 2," a job
Online Vid Sign-off:
1) American Jewish World Service--World Partners Fellowship
2) A teaching program in Shenzhen, China
After spending much anxiety-prone time considering these two options and weighing the benefits and risks/costs, I have come to decide on my future. Regardless of the decision, I have felt such a release knowing that I have been selected for anything--and to top it off, two things which I would love to do. A certain validating relief pulses through me. This feeling is so foreign, of late, that I am not entirely convinced that I will be going abroad on an awesome program. Sort of surreal.
Anyways, I have decided to go teach in China! I am enthusiastic about this decision and eager for an August when I will be learning Mandarin at Peking University and exploring the stones of the Great Wall. Cue jealousy.
The reasons for the decision mostly reduce to the following: The China program offers more support than AJWS. If you are not interested in reading the details from the aforementioned links, I will summarize some important factors (so you can see where my thought process is these days).
AJWS
-Opportunity for individual exploration in rural India
-Much more roughing it
-Connection to Jewish community
-Based on the grueling interview process and the caliber of the other candidates, this program was guaranteed to be rewarding
-Little contact with the outside world, little technological access
-High time commitment with little opportunity to travel, explore, be alone
-Indulge my social justice passions
China
-Be with C
-Paid, insurance included
-Advanced Mandarin education and TEFL Certificate included
-Flight reimbursement, travel bonus at completion of contract
-On-the-ground advisors
-100 fellow program participants in the same BIG city
-Access to Hong Kong and ample time to take advantage of travel, exploration
-Opportunity for individual and group exploration in East and Southeast Asia
-High connectivity to outside world, high technological access
-Moderate time commitment with lots of opportunity to travel, explore, be alone
-Indulge my passion for pedagogy
So yeah! I am enthusiastic to get from here to Shenzhen in September as quickly as possible. To contribute to this, I am continuing my streak of unemployment (sort of, since I freelance write). I trial-shifted at Zingerman's Roadhouse the other day, and I think it went well--fingers are crossed! Otherwise, I am dependent upon volunteering for paid studies. Soon, I may resort to being a figure model.
Life is good, though I retain a "cautious optimism" (as The A.V. Club says in their Newswire sign-offs) simply because I know how easily the rug can be yanked-out from under me.
Recent Tune(s): Beach House's "Teen Dream," Laura Veirs's "July Flame," Starf*cker (I loathe that name)
Recent Film(s): On a western kick...More in future posts. "The Wild Bunch" and "Appaloosa"
Recent Lit(s): "Amsterdam" by McEwan, Online Travel Mag
Recent Wish-List Addition(s): HBO to watch "Treme," to see "Iron Man 2," a job
Online Vid Sign-off:
Beyond Those There Mountains
Ladies and Gents,
I have returned to Ann Arbor, Michigan. I am living with my girlfriend, Caitlin, and enjoying time with good friends--who work at places like this. I am currently writing international community health courses for International Medical Relief (the organization with which I teamed to go to Haiti and Ethiopia). Soon, I will compile briefing packets for upcoming I.M.R. missions. This is paying the bills, but I am looking for some more work to fill my hours, to pad my bank account, and to instill myself with a sense of purpose when I can so easily spend my daylight hours wasting away with Netflix instant and "Lost" marathons.
I recently returned from a week in Colorado with my parents and Caitlin (C). We were blessed with fortunately sunny and warm weather, even when we took two days in Keystone--where we received a half-off discount on lift tickets because of an executive chef we met at a sleigh-ride dinner in a valley ranch once used for gold mining and lettuce farming. Speaking of food, the week was filled with childhood classic eateries as well as recent additions to the Zwiebel Family Favorites:
-Fish tacos at Wahoo's
-Pad thai at Saigon Terrace
-Garden burger sliders, carrot-ginger-cumin soup, and chorizo omelette at Root Down
-Pad see yew at Wild Ginger
-Colorado style mountain pizza pie at Beau Joe's in Idaho Springs
-Chicken shwarma at Saj
-Chicken curry wrap and tea infused ice cream at Dushanbe Tea House
-Butterscotch fudge ripple, heath bar based, dulce de leche, espresso-based-chocolate-covered-espresso-bean, etc ice creams from Likk's
-Scallion pancakes at Jade Garden
A visit to the Denver Art Museum here, a tour of my childhood hot-spots there. Though C got a little ill towards the end of the trip--as per usual--we both had a wonderful time with my parents. No drama. Except when we played Cranium. Lots of laughter there (e.g. my dad shouting chest hair for a sensosketch of corsage or me trying to hum "Sexual Healing" to C). Good drama. Oh! And the drama of watching my 8th grade musical--in which I played Henry Higgins of "My Fair Lady." Man. I sure do maintain a painful tone deafness throughout my years.
Now that I have returned to Lady Ann, I am resettling and discovering my perceptions of the city have shifted. I am, obviously, no longer focusing on the "college town" side of the city; instead, I am taking in the city as a conduit to pursuing my passions and living a sustainable, happy lifestyle. So far, so good.
For the future, I am awaiting a reply from Princeton in Asia (my first choice) about the coming fall's fellowship prospect. I should know by Tuesday. I have been accepted to the American Jewish World Service Fellowship in India, which I am very excited about. Also, I have been accepted to teach English in Shenzhen courtesy of the Chinese Bureau of Education. There may be some tough decisions ahead, but the good news is that I will be on an enriching program abroad this fall.
Hooray!
This too.
I have returned to Ann Arbor, Michigan. I am living with my girlfriend, Caitlin, and enjoying time with good friends--who work at places like this. I am currently writing international community health courses for International Medical Relief (the organization with which I teamed to go to Haiti and Ethiopia). Soon, I will compile briefing packets for upcoming I.M.R. missions. This is paying the bills, but I am looking for some more work to fill my hours, to pad my bank account, and to instill myself with a sense of purpose when I can so easily spend my daylight hours wasting away with Netflix instant and "Lost" marathons.
I recently returned from a week in Colorado with my parents and Caitlin (C). We were blessed with fortunately sunny and warm weather, even when we took two days in Keystone--where we received a half-off discount on lift tickets because of an executive chef we met at a sleigh-ride dinner in a valley ranch once used for gold mining and lettuce farming. Speaking of food, the week was filled with childhood classic eateries as well as recent additions to the Zwiebel Family Favorites:
-Fish tacos at Wahoo's
-Pad thai at Saigon Terrace
-Garden burger sliders, carrot-ginger-cumin soup, and chorizo omelette at Root Down
-Pad see yew at Wild Ginger
-Colorado style mountain pizza pie at Beau Joe's in Idaho Springs
-Chicken shwarma at Saj
-Chicken curry wrap and tea infused ice cream at Dushanbe Tea House
-Butterscotch fudge ripple, heath bar based, dulce de leche, espresso-based-chocolate-covered-espresso-bean, etc ice creams from Likk's
-Scallion pancakes at Jade Garden
A visit to the Denver Art Museum here, a tour of my childhood hot-spots there. Though C got a little ill towards the end of the trip--as per usual--we both had a wonderful time with my parents. No drama. Except when we played Cranium. Lots of laughter there (e.g. my dad shouting chest hair for a sensosketch of corsage or me trying to hum "Sexual Healing" to C). Good drama. Oh! And the drama of watching my 8th grade musical--in which I played Henry Higgins of "My Fair Lady." Man. I sure do maintain a painful tone deafness throughout my years.
Now that I have returned to Lady Ann, I am resettling and discovering my perceptions of the city have shifted. I am, obviously, no longer focusing on the "college town" side of the city; instead, I am taking in the city as a conduit to pursuing my passions and living a sustainable, happy lifestyle. So far, so good.
For the future, I am awaiting a reply from Princeton in Asia (my first choice) about the coming fall's fellowship prospect. I should know by Tuesday. I have been accepted to the American Jewish World Service Fellowship in India, which I am very excited about. Also, I have been accepted to teach English in Shenzhen courtesy of the Chinese Bureau of Education. There may be some tough decisions ahead, but the good news is that I will be on an enriching program abroad this fall.
Hooray!
This too.
Not Really There?
This will be a short-changing of two reviews--please forgive me for short-changing you by combining two reviews, and please forgive me for doing so in a brief post. I am entertaining and being entertained in Colorado until Sunday, when I will be returning to Ann Arbor.
Though "Shutter Island" and "Coraline" may seem miles apart in nature, subject, and target audience, the common theme of the mind's ability to create and the backfiring of alternative realities courses through both films. Not to mention that both movies have their fair share of terrifying moments.
Martin Scorsese and Leonardo DiCaprio are dead-on, as per usual. And given the presence of such cinematic Goliaths, Mark Ruffalo fills out the supporting side-kick with aplomb. The film recalled my nostalgia for a one-credit-college course I took called "The History of American Psychiatry in Film." If I could remember some of the psychiatric and psychological terms discussed in that course, I would certainly be able to discuss intricacies of story and character development far better.
A few days after viewing DiCaprio's Teddy Daniels struggle to uncover the mysteries surrounding a missing and reappearing patient on an island mental hospital for the criminally insane, my mom pointed out how effectively and painfully Scorsese paralleled the torture perpetrated during the Holocaust with early psychiatric techniques and experiments. These undertones and flashbacks definitely encourage a sense of discomfort and slight agony while watching; these emotions facilitate the few moments that make a woman a few rows back yelp in fear.
Ultimately, the greatest fear from "Shutter Island" comes with the movie's unresolved moral: the mind is a powerful force that can operate counter to social homeostasis and can disrupt the internal milieu.
This is not the horror conveyed in "Coraline," Henry "Pal o' Burton" Selick's Oscar nominated claymation "children's movie." I say "children's movie" because this PG movie was one of the scarier nail-biters that I have seen in some time. I would argue "Coraline" upset me more than "Shutter Island" whilst watching, though "Shutter," as mentioned before, had a more lasting terror.
Embattled with isolation and parents who care more about their magazine than their only kid, Coraline Jones discovers an alternative world with an "Other Mother" who wants to keep her forever to love her forever and possibly, just maybe, eat her soul. Sounds like a great movie to show kids. Great messages about familial love and finding refuge in your dreams.
And though the movie has haunting elements, "Coraline" retains the color, imagery, and dream-like fantasy that permeates childhood perception. The cooky neighbors and talking cat are pure kiddy--albeit "A Nightmare Before Christmas" kiddy. Ian McShane (a.k.a. Al Swearengen) and John Hodgman bring craft and humor to their respective voiceovers.
Still, "Coraline" had me furrowing my eyebrows in concern. Scary.
I recommend both, though neither for young audiences.
"Shutter Island": Three out of five stars
"Coraline": Two.5 out of five stars
Though "Shutter Island" and "Coraline" may seem miles apart in nature, subject, and target audience, the common theme of the mind's ability to create and the backfiring of alternative realities courses through both films. Not to mention that both movies have their fair share of terrifying moments.
Martin Scorsese and Leonardo DiCaprio are dead-on, as per usual. And given the presence of such cinematic Goliaths, Mark Ruffalo fills out the supporting side-kick with aplomb. The film recalled my nostalgia for a one-credit-college course I took called "The History of American Psychiatry in Film." If I could remember some of the psychiatric and psychological terms discussed in that course, I would certainly be able to discuss intricacies of story and character development far better.
A few days after viewing DiCaprio's Teddy Daniels struggle to uncover the mysteries surrounding a missing and reappearing patient on an island mental hospital for the criminally insane, my mom pointed out how effectively and painfully Scorsese paralleled the torture perpetrated during the Holocaust with early psychiatric techniques and experiments. These undertones and flashbacks definitely encourage a sense of discomfort and slight agony while watching; these emotions facilitate the few moments that make a woman a few rows back yelp in fear.
Ultimately, the greatest fear from "Shutter Island" comes with the movie's unresolved moral: the mind is a powerful force that can operate counter to social homeostasis and can disrupt the internal milieu.
This is not the horror conveyed in "Coraline," Henry "Pal o' Burton" Selick's Oscar nominated claymation "children's movie." I say "children's movie" because this PG movie was one of the scarier nail-biters that I have seen in some time. I would argue "Coraline" upset me more than "Shutter Island" whilst watching, though "Shutter," as mentioned before, had a more lasting terror.
Embattled with isolation and parents who care more about their magazine than their only kid, Coraline Jones discovers an alternative world with an "Other Mother" who wants to keep her forever to love her forever and possibly, just maybe, eat her soul. Sounds like a great movie to show kids. Great messages about familial love and finding refuge in your dreams.
And though the movie has haunting elements, "Coraline" retains the color, imagery, and dream-like fantasy that permeates childhood perception. The cooky neighbors and talking cat are pure kiddy--albeit "A Nightmare Before Christmas" kiddy. Ian McShane (a.k.a. Al Swearengen) and John Hodgman bring craft and humor to their respective voiceovers.
Still, "Coraline" had me furrowing my eyebrows in concern. Scary.
I recommend both, though neither for young audiences.
"Shutter Island": Three out of five stars
"Coraline": Two.5 out of five stars
Monday
"Lost" Thoughts: Part III
As I finish season three, I hear stories from original "Lost" fans (i.e. those who have watched the show on TV from the show's conception) that many bail in the fourth and fifth seasons because the show "gets too ridiculous." I am not sure where those people were for the first three seasons: The show has always operated on a premise of being illogical and outlandish. Are we not supposed to feel the confusion but excitement of the characters on the island?
At least, that is one of the draws for me. I have spoken to how I cannot believe the success of the show given its resistance to logic in story, writing, and character development. Yet, I find myself compelled to continue following the survivors of Oceanic Flight 815. The first season, I followed them out of curiosity over the many mysteries and difficulties they encountered trying to just make-do in a survival scenario with a few curve-balls (NB The monster and the polar bears). The second season, I followed them out of piqued interest about the new revelations that the island was host to some sort of technological or scientific experimenting that seemingly antagonized the survivors in every way possible. And the third season, I followed because I finally have a sense that Abrams and Co. have a direction for the show, the survivors, and the island's story.
The writers continue to introduce new characters and occasionally kill old ones off. Unfortunately, some of my favorite characters did not even last half way through the season--don't worry, no spoilers. Just as in life, the birth of a new character necessitates the death of an old one. This sort of poetic balance is not that simple on the island since, in the third season, we experience a ghost of one of the survivors for the first time. Sure we have seen ghosts (e.g. Jack's dad), but this is the first time that Oceanic ghosts are haunting their own people.
The ebb and flow of characters is just one of the many cycles that "Lost" writing goes through. The story also shows hints of inner formula: The survivors struggle through a challenge, just barely eke out a solution only to find a new location and a new challenge, the survivors realize this new location is the key to solving the new challenge, so they just barely find solution as they find a way into the new location only to discover a new character. Shortly thereafter will be an episode with trite character "development" that does not help the show that needs to use all its force just to tread water with all the weights of its subplots pulling it beneath the waves of confusion and disenchantment.
Still, I watch. I suppose I am drawn to the show despite episodes like the one where Hurley finds the van because of episodes like either of the ones where Abrams and Co. finally trick us with a flash forward instead of a flashback. Even though I had heard it was coming, I was still jolted and amused. Well done, sir!
Mostly, I think I am hanging-in with the show because I want to be able to participate in another niche dialogue.
Here are the questions left over from Season 1:
At least, that is one of the draws for me. I have spoken to how I cannot believe the success of the show given its resistance to logic in story, writing, and character development. Yet, I find myself compelled to continue following the survivors of Oceanic Flight 815. The first season, I followed them out of curiosity over the many mysteries and difficulties they encountered trying to just make-do in a survival scenario with a few curve-balls (NB The monster and the polar bears). The second season, I followed them out of piqued interest about the new revelations that the island was host to some sort of technological or scientific experimenting that seemingly antagonized the survivors in every way possible. And the third season, I followed because I finally have a sense that Abrams and Co. have a direction for the show, the survivors, and the island's story.
The writers continue to introduce new characters and occasionally kill old ones off. Unfortunately, some of my favorite characters did not even last half way through the season--don't worry, no spoilers. Just as in life, the birth of a new character necessitates the death of an old one. This sort of poetic balance is not that simple on the island since, in the third season, we experience a ghost of one of the survivors for the first time. Sure we have seen ghosts (e.g. Jack's dad), but this is the first time that Oceanic ghosts are haunting their own people.
The ebb and flow of characters is just one of the many cycles that "Lost" writing goes through. The story also shows hints of inner formula: The survivors struggle through a challenge, just barely eke out a solution only to find a new location and a new challenge, the survivors realize this new location is the key to solving the new challenge, so they just barely find solution as they find a way into the new location only to discover a new character. Shortly thereafter will be an episode with trite character "development" that does not help the show that needs to use all its force just to tread water with all the weights of its subplots pulling it beneath the waves of confusion and disenchantment.
Still, I watch. I suppose I am drawn to the show despite episodes like the one where Hurley finds the van because of episodes like either of the ones where Abrams and Co. finally trick us with a flash forward instead of a flashback. Even though I had heard it was coming, I was still jolted and amused. Well done, sir!
Mostly, I think I am hanging-in with the show because I want to be able to participate in another niche dialogue.
Here are the questions left over from Season 1:
What's the deal with the moving black smoke?
What did the others want with Walt?
Are the others affiliated with the moving black smoke?
What is so special about the numbers?
What's the story behind the Black Rock?
What illness took Rousseau's people?
Where is this island?
What's with Locke's occasional paralysis and even more occasional feeling in his legs?
What made him move to the box company?
What's with Jack's dad on the island?
What is Walt's super power?
What's the point of Vincent?
As you can see, the questions are starting to get answered. It is a gradual process, but the writers seem genuinely capable of answering all the questions. That is promising and reassuring given how many damn questions there still are. Season two left overs:
Why do people see a dripping wet Walt when he's not actually around?
What is he saying in said incidents?
What is the significance of the hatch names?
Why was the electromagnetic facility built?
Why was it well-stocked with weapons?
How do the others know names of Oceanic survivors?
What's with Kate's black horse?
Was Sawyer really holding the spirit of Kate's dead dad?
Is this all going to be some sort of religious metaphor?
Why didn't the black smoke take Echo?
What was flashing in the black smoke?
What did the blacklit blast door say?
Why did the Dharma Initiative drop more food?
Why does Hurley start seeing Dave again?
Why didn't Ben run away when the blast doors had fallen?
Why was Desmond in prison?
What's with the big freak bird that seems to only show up once a season?
What's with the statue foot with four toes?
What's with that EMP detecting squad in the snowy recesses of elsewhere and acting as liaisons to Desmond's ex?
And now the slew of questions from this season:
What's Carl's back story?
Why does Jack hear his dad on the intercom?
How do "the others" have so much information about everything?
Why was Locke on that orchard?
Why can Desmond see the future?
Who is the guy who looks like Echo's brother but says he is not him?
Really? Bear cage sex?
Why was Jack in Phucket?
What is the meaning of Juliette's mark?
Why was Sayid in Paris?
How does Mikhael keep surviving death?
Will Claire and Jack ever realize they are related?
What is Jack's dad's timeline exactly? (Consider Claire's accident, Analucia's bodyguarding, etc)
What happens to the gull carrying Claire's message?
What happened to Locke's spot on the weed farm?
How did Locke's dad get on the island?
How did Abrams and Co. get Billy Dee Williams to guest?
What was the point of Nickie and Paulo? ("Who the hell is Nickie?"--Sawyer)
Will those two stay buried? ("Things have a way of not staying buried"--Locke)
Why didn't the monster take Juliette and Kate?
Why can't the monster cross "the others'" fence?
What is the story with Jacob?
Who is the man from Tallahasee?
Why was Desmond at an abbey?
Why do men have higher sperm counts on the island?
How could the world have "found" flight 815 without survivors?
Why do "the others" idolize Locke?
Will "the others" subvert Ben?
Are the people on the island dead? Are these layers of hell?
Who is Ben's right-hand/the guy that found him as a kid? Why hasn't he aged?
Why is Ben in charge?
What does Jacob need Locke's help with?
Who's dead in Jack's flash forward?
What is Naomi's story?
How does Penelope relate to the island?
Why did Locke knife Naomi?
Why does beardy Jack map all the oceanic stuff?
Who is Kate with that she's not with beardy Jack?
And those are my questions. Here are some features I appreciated this season:
4) The back story on how San may be the reason for all of her and Jin's woes.
3) Favoring Sawyer as a character with genuine development and crafty ways of keeping him conniving yet useful.
2) A sense of story, connectedness, and links that indicate that "Lost" is going somewhere.
1) My favorite moment of the series happened this season when Hurley blurts: "Let's look death in the face and say, 'Whatever, dude.'" It reminded me of Demetri Martin.
I am looking forward to the next two seasons which are both significantly shorter than the 23 episode seasons thus far--courtesy of the writer's strike.
I'm halfway to being able to actually talk about this show in a relevant manner. Isn't that exciting?!? I'm so excited that I am spending time finding obscure and odd "Lost" clips on YouTube!--like this strange ad campaign that looks like it debuted between seasons one and two:
I'm halfway to being able to actually talk about this show in a relevant manner. Isn't that exciting?!? I'm so excited that I am spending time finding obscure and odd "Lost" clips on YouTube!--like this strange ad campaign that looks like it debuted between seasons one and two:
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