Oh, you fool, there are rules, I am coming for you
I am also having an unsatisfactory government experience, where by "unsatisfactory" I mean "smug and inhumane" and by "government experience" I mean "two hundred and seventeen assclowns celebrating their decision to kill millions of their supposedly fellow Americans plus one assclown-in-chief signing disingenuous self-righteousness into law in an embarrassment to assclowns everywhere." I am aware that the Senate has not yet voted on the so-called American Health Care Act of 2017 and I hope their phone lines are burning up. As for the representatives who voted yes on this travesty, whether it passes in the Senate or not, I hope their jobs are already burning. The voting breakdown is available. I'm sure the twenty Republicans who voted no did not all have altruistic motives, but I hope someone sends them flowers anyway, since apparently deciding not to be a cartoonishly gleeful sociopath is something we have to reward people for now.
So that's difficult. Here are some non-government-related things.
1. Marc Svetov's "Strangers in Purgatory: On the 'Jewish Experience,' Film Noir, and Émigré Actors Fritz Kortner and Ernst Deutsch" is about half review of a book I can probably skip and half study of character actors of the kind I really enjoy. I think I have seen Kortner only in Pandora's Box (1929), but I've been trying to see The Hands of Orlac (1923) for years—admittedly, for Conrad Veidt—and Svetov has just sold me on Somewhere in the Night (1946). I was just looking up Deutsch a few weeks ago after seeing him in The Golem, How He Came into the World (1920); I can see now that I'll have to track down Pabst's The Trial (1948), though at the moment I'd rather rewatch The Third Man (1949).
2. I was talking about L.M. Montgomery with![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
osprey_archer when I realized that Barney Snaith in The Blue Castle (1926) is very much like a version of Dean Priest from Emily of New Moon (1923), Emily Climbs (1925), and Emily's Quest (1927) who isn't fourteen years older than the heroine and eventually terrible about boundaries; otherwise they are strikingly the same mode of attractive outsider-dreamer-kindred-spirit, right down to the tawny hair, the whimsical, sensitive mouth, the world traveling, the touch of cynicism, and the bitter laugh. I am left wondering if Montgomery had a type or if she was just working out alternatives in parallel. (I need to find out if the publication dates of the books correspond at all to the dates of writing—if she actually wrote The Blue Castle in between Emily Climbs and Emily's Quest, that makes it feel especially like a kind of self-AU.) I know almost nothing about her life except that there was a lot more chronic illness and depression in it than I knew as a child. I don't know if she had a life model for Dean and Barney; I think I hope not. Leaving aside Dean's disability and Barney's family history, the major difference between them really is each character's viability as a romantic match for the heroine of his book. And their eyes, of course. Barney's are Emily-violet. Dean's are Priest-green.
3. Courtesy ofrushthatspeaks: clipping., "Air 'Em Out." Daveed Diggs plus shout-outs to Octavia E. Butler, M. John Harrison, and Ursula K. Le Guin among other science fiction and a really catchy hook. I may have to look into the rest of this album. [edit] Splendor & Misery (2016). Highly recommended.
So that's difficult. Here are some non-government-related things.
1. Marc Svetov's "Strangers in Purgatory: On the 'Jewish Experience,' Film Noir, and Émigré Actors Fritz Kortner and Ernst Deutsch" is about half review of a book I can probably skip and half study of character actors of the kind I really enjoy. I think I have seen Kortner only in Pandora's Box (1929), but I've been trying to see The Hands of Orlac (1923) for years—admittedly, for Conrad Veidt—and Svetov has just sold me on Somewhere in the Night (1946). I was just looking up Deutsch a few weeks ago after seeing him in The Golem, How He Came into the World (1920); I can see now that I'll have to track down Pabst's The Trial (1948), though at the moment I'd rather rewatch The Third Man (1949).
2. I was talking about L.M. Montgomery with
osprey_archer when I realized that Barney Snaith in The Blue Castle (1926) is very much like a version of Dean Priest from Emily of New Moon (1923), Emily Climbs (1925), and Emily's Quest (1927) who isn't fourteen years older than the heroine and eventually terrible about boundaries; otherwise they are strikingly the same mode of attractive outsider-dreamer-kindred-spirit, right down to the tawny hair, the whimsical, sensitive mouth, the world traveling, the touch of cynicism, and the bitter laugh. I am left wondering if Montgomery had a type or if she was just working out alternatives in parallel. (I need to find out if the publication dates of the books correspond at all to the dates of writing—if she actually wrote The Blue Castle in between Emily Climbs and Emily's Quest, that makes it feel especially like a kind of self-AU.) I know almost nothing about her life except that there was a lot more chronic illness and depression in it than I knew as a child. I don't know if she had a life model for Dean and Barney; I think I hope not. Leaving aside Dean's disability and Barney's family history, the major difference between them really is each character's viability as a romantic match for the heroine of his book. And their eyes, of course. Barney's are Emily-violet. Dean's are Priest-green.3. Courtesy of
rushthatspeaks: clipping., "Air 'Em Out." Daveed Diggs plus shout-outs to Octavia E. Butler, M. John Harrison, and Ursula K. Le Guin among other science fiction and a really catchy hook. I may have to look into the rest of this album. [edit] Splendor & Misery (2016). Highly recommended.
Re: (still haven't uploaded my star icon)
Oh, cool. The link itself is broken in that it goes somewhere other than the film, but knowing it existed I was able to find it. Thank you!
Re: (still haven't uploaded my star icon)