The other day, Delium was over for dinner and I was pouring salad dressing and saying how I only wanted a teeny bit of it, but I was moving way too fast so I ended up with a tidal wave of vinaigrette on my greens. He said: “Oh no!” But I sad, in a mournful Pointer Sisters way: “I need a man with a slow hand.” We busted ourselves up laughing at that one. Why is that so funny? Other funny song renditions in my house: “Who ate the Smart Puffs?” to the tune of “Who Let the Dogs Out?” and Nordic Boy’s answer to my question of whether or not he wanted me to cut off the green tops to his strawberries: “Let’s leave ’em on,” to the tune of “Let’s Get It On.”
Not really that funny, right? Yet, every time: STITCHES.
This was recommended to me on Netflix Instant and I had heard nothing about this version. I watched it, and then afterward I looked up more information about it and was shocked. I could have sworn to you by the look of that movie that it was made in 1975 or something, but no! 2006, people! It was so 70s. The film quality was all gritty, the sex was all unsexy. It wasn’t bad or anything, but it did seem like it was from another era.
Since I read the book last week and liked it, I thought I would see how the movie measured up. Yeah, it didn’t. Matthew what’s his bucket- why can’t I ever remember how to spell his effing name- Matthew McCanada-hey was sufficiently oily though. And wow, I keep bringing him up don’t I? Didn’t I just talk about him last week?
American Masters: Margaret Mitchell
That lady was a straight up racist, refusing to sit in a college class with an African American student and her black characters she wrote and all that mess. But then she was secretly paying anonymous scholarships for hundreds of black students at Morehouse to become doctors. Racism, why you gotta be so complicated?
We Were Here
Hey, do you want to bawl your freaking eyes out? Watch this documentary about the people who served as caregivers to AIDS patients in San Francisco in the early 80s. Anyone who says that family needs to be blood-related needs to watch this and tell me that that wasn’t as family as it gets.
Choreographed by Mats Eks, danced by Mikhail Baryshnikov and Ana Laguna. I watched it three times in a row.
The Imperfectionists, by Tom Rachman
I love interlocking stories, and these were each richly but simply done. It’s so fun to see how all of the pieces fit together, and the newsroom/journalism stuff was great. The characters were all interesting, complicated sad sacks- the title of the book could not have been more accurate. I am usually queen of the pro-sad-sack-characters, but I did wonder at a certain point: out of all these characters (and there are a lot of them), not one of them could be a bit less of an internal mess? I actually don’t mind and rather like sad/pathetic characters, but I would have loved it more had the levels of sad/pathetic varied a bit more.
Have a happy day, my lovelies!