Who pointed me to Pauley Perrette, star of Navy: NCIS.
Amazing pics at her site pauleyp.com.
Apparently she plays an überhaqr on the show – I’ll check it out tonight maybe.
The Brothers Garcia:
http://www.nick.com/all_nick/tv_supersites/display_show.jhtml?show_id=bro
I’m not often awake or active about this time – but this show is hilarious.
Mrs. Elyse Luray - (something)
I love the way you sleuth history.
I love the way you research.
I like your hi-lights and perfect teeth and the way you seem to enjoy trolling in dusty old tomes.
I love the way you have trendy sunglasses and that you wear them into dusty archives.
Thank you for giving hope to all the girls who volunteer in the library - and the guys who love them.
I’ve never had the chance to share truly bad good TV with you, but for a this show’s guffaw-worthy dialog, sublime scenery, transparent moral pandering, and utter decency is a joy:
http://www.imdb.com/title/tt2874692/
Spoilers: Discussion of “Mr. Robot” Seasons 1 and 2, including
finale. “The Prisoner” including finale.
Introduction
“Mr. Robot’s” second season (which ended this week) marked a
departure in narrative from the first season that left some viewers confused
and possibly disappointed. While Eliot’s psychology has always been a key
element in the show, this season marked a shift from the “hacker heist”
episodic narrative structure into a psychological examination of many of the core
characters. This move, within the context of network television, is surprising,
non-traditional and subversive; it’s bravery may serve to make “Mr. Robot”
timeless. I’d like to look at how this narrative shift recalls another
pioneering television program, ITV’s “The Prisoner” which did something
similar.
“The Prisoner”
“The Prisoner” instantly makes a deep impression. Much like the first time you
hear The Doors’ “The End” or watch Ponnelle’s presentation of “O Fortuna”,
you’ll never forget it. It taps not only into good storytelling but to
something out of the Collective Unconscious: something abstract, universal, and
deeply unsettling.
When I first came across it, in the pre-YouTube era, it was in newsprint in an
article in the “New York Times” called: “After 34 Years, Unable to Let Go Of
‘The Prisoner.’ (Read [the original][article])” Atop the full-page article
was this scene from “Free for All:”
No, I’d definitely never seen anything like that before: a ruly mob in colorful
clothing in an oddly Rococo-hodgepodge English garden with campaign signs and a
never-before-seen typeface (“Albertus”). What was going on there?
Lauren and I originally bonded on this show: its quick dialogue, it’s kind-hearted characters, etc. Coming back as a series of four vignettes. Sounds great!
https://www.theatlantic.com/entertainment/archive/2016/11/gilmore-girls-a-year-in-the-life-review/508580/
http://www.nytimes.com/2017/01/06/arts/television/what-tv-says-about-race-and-money.html
I AM SO THANKFUL FOR MORE BLACK LIVES BEING SHARED IN MEDIA.
Spike Lee once said something like “We know everything about you: how you date, how you dance, how you fall in love… and you know almost nothing about us.”
When someone asks why not a show called “white-ish” they’re saying: “I have no curiosity or no humility.” White America, our lives are well represented. Try learning something.
Torres and “Fleabag” suggest a new model of what women see of and in each other.
https://www.theguardian.com/music/2017/jun/16/torres-women-pleasure-fleabag-female-gaze-videos
We’ve been enjoying “GLOW” on Netflix. An interesting take on maturation and gaze by star Betty Gilpin.
https://www.glamour.com/story/glow-star-betty-gilpin-what-its-like-to-have-pea-sized-confidence-with-watermelon-sized-boobs
