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In my time on earth, I said too much, but not nearly, not nearly enough
Unless I lost track of one in the phone tree, I have just spent my afternoon calling five different doctor's offices, garnished with one bookstore and one library, and I would still like a refund on selected and considerable tracts of physical existence. In other news, while I have always had an inevitable affection for the mild-mannered character acting of Donald Meek, I have not seen him anywhere near recently enough to explain his appearance in last night's dreams, especially not the one with the used book store crumbling literally on the edge of some awful revelation. Over the last three days, I mainlined a rewatch of the first two seasons of Turn: Washington's Spies (2014–17) and just before bed had started re-reading Paul French's Midnight in Peking (2011), which in the years since I originally read and much later wrote about it has garnered at least one nonfiction rebuttal and more contextually interested explorations, because nothing engages the human instinct for rabbit holes like a cold murder case. No offense to Donald Meek, I'm not sure where he came in.
P.S. Stop the presses, Benny Safdie and Dwayne Johnson will be adapting Daniel Pinkwater's Lizard Music (1976)? They had better get the Surrealism.
P.S. Stop the presses, Benny Safdie and Dwayne Johnson will be adapting Daniel Pinkwater's Lizard Music (1976)? They had better get the Surrealism.
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I can strongly recommend the Nineteen Eighty-Four, which is impressively still on YouTube fifteen years after I wrote about it, and Quatermass and the Pit, which has been less surprisingly taken down and which now looks to me like his first foray into the kind of weird science folk horror that would produce both The Road and The Stone Tape. H.M.S. Defiant has the slight problem of visibly cribbing from Billy Budd for one of its plots, but since the other is about the Spithead and Nore mutinies, I really enjoyed it. The Abominable Snowman has pacing problems likely to do with its transfer from teleplay to film, but the ending is great and so is Peter Cushing.
Although Colin Jeavons is an understable draw.
He's wonderful. I would have totally watched a show about his encyclopedic ufologist.
I would need to watch YotSO again, which no doubt I will do sometime. It's also difficult, because clearly VoV is in many ways DW's edition of YotSO, which is DW's wont, although it was also in relation to the video nasty scares of the 80s. VoV is very much a SF future colony where things have developed in that way because of its start as a prison colony; YotSO is a jump forward from now to a logical extreme of development & still watching the people taking the final steps during the course of the play. Plus, also, as I said, there's a lot about language and loss of verbal communication in favour of visual.
I can wait patiently. Differences are as illuminating as likenesses.
Sometimes I like to listen to plays my faves have been in so I can do the imagining and sometimes I just can't face Mark Gatiss when I wanted James Maxwell. (I also hope eternally for returned things. I can't watch DW restorations because I am saving myself for the deeply improbable returned videotapes!!)
Understandable! I haven't watched the 1948 film of The Calendar because I'm holding out for the rediscovery of the 1930 version with Herbert Marshall and Edna Best. It is ridiculous that not yet century-old media should disappear at all.
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What's even more impressive is that the BBC have it up on the iPlayer & have done for a while. I keep thinking I should watch it every time I see it there because I am so impressed and curious, but the thing is I kicked off my second year A-Level History (the one where I did totalitarian states) with reading the book and then watching the 1984 Ninety-eighty Four with John Hurt, Suzanna Hamilton & John Cusack and I was so disturbed by the film version and John Cusack in particular that it turns out I'm still not ready to do it again, or at least, not until a very good day. Even though I DO want to see Peter Cushing in a miraculously available BBC iPlayer version. One of these days before it goes maybe!
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Perfect! I hope you feel like watching it before it evaporates again.
(I believe I saw the 1984 Nineteen Eighty-Four in high school when for some godforsaken reason the summer reading was Bradbury, Orwell, and Huxley, and my mother worked to amend the experience by showing me both that film and the 1966 Fahrenheit 451, which I did enjoy as movies and also I have never rewatched that Nineteen Eighty-Four again. I didn't realize until just now that Cyril Cusack was in both of them! I had to check he wasn't in a film of Brave New World, too.)