Wednesday, September 13, 2023

Psychotronic SpookShow


Psy-cho-tron-ic
  def. denoting or relating to a genre of movies, typically with a science fiction, horror, or fantasy theme, that were made on a low budget and received poorly by critics. 


I know what I like. When I go down the rabbit hole it turns into a warren with many off beaten paths. Jess Franco, Jean Rollin, 70's and 80's exploitation, silent horror, Roger Corman productions, Val Lewton productions, Hammer, horror flicks from Japan, Italy and Spain, Paul Naschy, Universal Monsters. A constant thoughline connecting all of these is a mood. Be it gothic or grungy. The fog rolls in over the moors as a line of torches light our way. 

I know what I don't like. The slasher craze of the 80's, the new slashers of the late 90's, the new new slasher of the 20's.*

As I go through this season each year, the watchlist gets broader as my taste becomes more defined. There's just so many wells to draw from. Home Video has unlocked all of these burning desires. 

So I concocted a blanket term. Psychotronic is good but that also entails the genre of sci-fi and fantasy. Spook Show puts a magnifying glass on the horror aspect of the term. Plus, it cuts to the core of the vibes I want I want to be sending out. 



*some exceptions do apply

Wednesday, September 6, 2023

Where I Get My Coffee

I've never been to Ethiopia, Brazil, Colombia, Peru, Kenya, Burundi, Costa Rica, or any other country the coffee I consume is produced. Nor have I been to the majority of coffee roasters that roast the beans from these countries. With the exception of local roasters like Intelligentsia and Metric Coffee. 

There's a wide open field of options to find great coffee out there. Hopefully, this list will be map out the terrain. 
 






Black and White
Location: North Carolina
Want to be on the more adventurous side? Black and White's experimental processed coffees always offer fascinating results. Their tasting notes on the bags range from gummy bears to pixie stix. 
If you feel like getting something to start out, I'd point you in the direction of their Anaerobic Washed process coffees as they are consistently delicious. 

One such coffee I've been drinking from them is their Wilder Lasso Lemon Gesha. The coffee cherries first go through anaerobic fermentation. It is submerged in mucilege for 200 hours before being pulped. Second, the coffee is re-fermented in the sun with indigenous lemon peel for 18 days. Adding a resulting taste of limeade to the coffee.




Coffee Circulor
Location: Norway
This was the first roaster I ordered from outside the country because of all the hype I heard. At first I was overwhelmed because of how diverse and large their selection was. When I received the order, they did something I never had another roaster do- they included a couple of samples (20g each) of coffees to try out. 

Corvus Coffee
Location: Denver, Colorado
Their exotic and reserve coffees are always a treat if you save up enough to get one. Their standard offerings have sometimes underwhelmed. 


Heart
Location: Portland, Oregon
A coffee I tried for the first time was one of their Ethiopian lots and it delighted me with its tropical fruitiness. 


Ilse 
Location: North Canaan, Connecticut
Out of the coffee roasters I've tried in New England, Ilse is hands down the best. I currently have a Colombian Gesha from them thas has jammy sweetness and flavors of limeade. 



Intelligentsia
Location: Chicago, Illinois and California
My journey into the whole coffee scene starts here. Their coffee quality has taken a bit of a hit in recent years compared to others on this list. It's still a shop I find myself in once a week to see what they are up to. 



Metric
Location: Chicago, Illinois

Their coffees I would rate slightly higher than Intelligentsia even though I've had less from them. They have one shop/roastery in Chicago compared to Intelligentsia's 4 locations. Making it harder to sample from them. It's entirely worth it every time I make the trip though. 



Onyx 
Location: Arkansas

A popular roaster whose baristas have competed in World Barista Championships. Word around the campfire is Onyx isn't the same Onyx of a few years ago, when they would produce stunning lot after stunning lot. Now it's a roaster who I will check in on occasionally to see what's brewin'. 

Passenger
Location: Lancaster, Pennsylvania
My favorite coffee roaster. I have yet to have a bad or even okay cup from them. The quality ranges from good to excellent. What makes them unique is they freeze many of their previous years coffee beans. As a result, their selection is bigger than most roasters on this list. Except Manhattan.

Sey
Location: Brooklyn, New York
A roaster whose coffee is best enjoyed 2 weeks from the roast date. They will even recommend this to you on their boxes. I've only had one coffee from Sey- a washed Ethiopia- but it blew me away.

Mistobox
A subscription service I've been a part of for the past few years gives me coffee from around the country every few weeks. They can sometimes send me a mediocre coffee, but for the most part, their curating has been on point. 






Sunday, September 3, 2023

The Work of Adam Curtis

Why am I feeling the way I am feeling?  

Documentaries are an aesthetic I can't get enough of. When they're well made. Some of my favorite filmmakers work in this very field. Werner Herzog, Errol Morris, The Maysles, Michael Moore are just as exciting to watch as Soderbergh or Fincher. 

About six years ago, the docs of Rodney Ascher took hold of me. The theories of The Shining, sleep paralysis, the Screen Gems logo are some of the subjects he focuses on. Ascher injected life into these subjects. It felt like a fresh and invigorating way of documentary storytelling. The same way I felt when I first watched a doc from Errol Morris or the Maysle brothers. 

I stumbled onto this documentary being praised on Letterboxd, It Felt Like A Kiss. I watched the trailer and it stuck out. There were no talking heads. This was a good thing. It told the story of America's rise to power starting in 1959. There was a dread built up during the 54 minute runtime. Beneath the pop music selections were death, chaos. There's no timelines, actors or script. Jut archival footage cut together with text moving the story along from one parallel to the next. 

For my money, Curtis' documentaries are some of the most exciting art to come out lately. The more I dug, the better it got. Then I got to his 6 part docuseries Can't Get You Out of My Head: An Emotional History of the World. 




Collages are something I dig mucho. Well timed needle drops are transcendent when the editor is able to properly juxtapose image and music. When a montage flows beautifully, it's intoxicating to watch. Add to this, Curtis' narration on whatever topic he is addressing. What you get is something I've been wanting to see pulled off but haven't. Most of the montages I've seen are film centric. Some are pop culture. History, specifically 20th century history is something that has provided a bounty of interest. Bennett Media's montages of the 70s, 80s and 90s were the closest I've seen anyone come to encapsulating the feel of a time through montage and music. If we're talking about narrative features, 
Oliver Stone's JFK and Nixon come to mind. Curtis manages to take all of this one step further. He takes it into journalism. 

The subtitle of Curtis' doc is An Emotional History of the World. We have gone from a confident self to an uncofident self. Riddled with anxiety, fear and uncertainty about the future. If you were going to explain this, the exaplanation would involve what is going on in people's heads just as much as hat is going on in the society around them. Behavorial scientists like Daniel Kahneman are just as prescient as social movements. 

Why am I feeling the way I'm feeling? At the heart of Curtis' documentary, he attempts an answer. 

Adam Curtis is interested in the conflict of individualism and collectivism. We are living in the most individualistic time in history. We have a distrust of each other and those in power. Because of this distrust, we have become more invested in individual wealth than what is good for society. 

In an interview with Mark Kermode and Simon Mayo about the documentary, Curtis explains the organizing principle between all of the footage and historical figures he uses is "what happens to people when they are acted upon by powerful ideas from outside them. The tension between the forces outside us and what happens when those forces get inside our heads is the dynamic of our time."  An example of this is his take on conspiracy theories. Jim Garrison's theory of Time and Propinquity states that you can never know what power is doing because it is too hidden. So what you have to look for are patterns, links and coincidences. The internet oday has people scrolling hrough it searching for patterns. What Curtis argues is that we don't have any logical meanings any longer. What we have now are patterns.

The documentaries introduce me to a whole smorgasboard of songs. The Mekons' Where Were You?, This Mortal Coil Till I Gain Control Again, Song For Zula by Phosphorescent, You Are the Generation That Bought More Shoes by Johnny Boy and a bunch more. Then you have the soundtracks to The Thing, The Fog, Poltergeist, Starman and Carrie being used. When you couple the archive footage to this music while Curtis' narration is going on, the result is euphoric. It's akin to how I feel watching GoodFellas or Casino or Boogie Nights. It's just banger after banger and makes you buy everything that's being said.

He's made a doc on technology with All Watched Over By Machine of Grace. Examined theories of human desire and how they're applied to platforms such as advertising, consumerism and politics with the multipart doc The Century of Self. His latest effort is Russia 1985-1999: TraumaZone, which documents the collapse of communism and democracy in Russia and finds Curtis dispensing with narrative voiceover altogether in favor of simply presenting archival footage. 





Friday, September 1, 2023

Seventeen Twenty Three

 My stage at Alinea

I had arrived at what looked like an suite of offices. Looking down at my phone I scanned the address: 1723 N. Halsted St. This has to be the location. I walked past the building and looked down an alley. A man carrying a chef's uniform walked through a side entrance. From the exterior, Alinea was already defying the expectation from what a restaurant looks like. Even the fancier fine dining, Michelin starred restaurants around Chicago had the glassy windows to look in. The thought had occurred to me before I had even applied to the job but now seeing the building first hand: this was no ordinary fine dining restaurant. 

I first heard about Alinea through watching a video of a desert plating on youtube. It was unlike anything I had seen. They were literally splaying it out on the table in front of the guests. They began by taking a chocolate ball and placing it in the center. They then proceeded to take several ramekins of different sauces and seasonings and 'painted' the table with them. It was an edible Pollock. After the sauces were finished, they took the spoon with which they spread out the sauces and crack open the chocolate ball unveiling a feast of white chocolate goodness inside. It was interactive. It was gastronomy. It was fun.

Researching the restaurant further led me to find out it was the highest rated restaurant in not just my state, but in the entire country. It maintained three Michelin stars for 12 consecutive years from its opening in 2005 up until now. To add some context, only 14 restaurants in the U.S. have the coveted 3 star rating. 

Alinea means the beginning the first sentence on a new line. The approach the restaurant takes to cuisine follows suit. They rip apart the restaurant experience and put it back together. What the staff try to evoke encompasses all of the senses and evokes emotion. Take for instance, one of their more famous specialty deserts, the edible helium balloon. The balloon is made of inverted sugar and flavored with fruit essences. The chef then pumps helium into the mixture. A string made of green apple poached in concord grape is attached to the base and served to the customers. The customer can suck in the helium and make their voice sound extra high pitched. It's playful. It's fun. 

The decision to apply there came from the need to challenge myself. There was a stasis with where I was at and I wanted to disrupt it. The position I applied for through Indeed was Food Runner and, to my surprise, got a reply back. There was an Open House Call for new applicants at one of Alinea's family restaurants, the Roister. One of three they subsequently opened through the years. I dressed appropriately for the interview and took an Uber. 

The anxiety and over preparedness I did paid off. The interviewer told me that the interview process is two fold. The first is them interviewing me. The second if me interviewing them through staging. Do I have the passion and drive to want to work here? Am I ready to commit 110% to this place? 

The interviewer gave me her card, a dress code for the stage and a login key to access learning modules regarding food safety and alchohol. All told, the tests took about 3 hours to complete. 

I spent considerable time on youtube looking at just about very video regarding Alinea I could. I searched past experiences on staging on Reddit. Having expedited and ran food at Olive Garden, I looked at Alinea's expedite process in a video. The expedite process is basically the air traffic controller of a restaurant. You make sure the correct food goes to the correct table at the right time. 

Looking at the way Alinea does it, I noticed they don't use screens to read the tickets. Everything is paper and color coded. If, for example, a ticket is in orange, it means a restriction such as food allergy. If a table has a birthday, they make a note of it on the ticket. Any good expedite knows timing is everything. They'll know if a table had a dish for 10 minutes when it really takes 5 minutes to eat. If the guest is doing a wine pairing, they add extra time to every single course for the sommelier to go out, put the glasses down and pour the wine. 

I even looked at the possibilities of dining there myself. The restaurant pricing is as such: 

    -The Salon: $315-385 per person 
    -The Gallery: $425-485 per person 
    -Kitchen Table: $495 per person (minimum 4-6 people) 

After which, a wine pairing is offered. The standard pairing is $155, the Reserve is $245 and The Alinea pairing is $395. If I were to just get the Salon with a Standard pairing, the cost is $663. Without the wine pairing we're looking at $455. A man can dream. 

It was the day of the stage. I dressed appropriately and took the Metra and transferred to the Red Line to take me down to North/Clybourn. 

Going down the alley to enter the building, I saw the liquid nitrogen tank outside with which they use for their dessert course. A skinny, tattooed chef was exiting and I let him know I was here for a stage. As I walked in, I heard someone whisper "Faster". My nerves went off like a fireworks display. What I read on reddit about how hard it was to work at Alinea was being confirmed with a single word and I only just walked through the door. How the hell was I going to get through this? 

Walking through the immaculately clean kitchen to a room they call The Gallery, I was seated at a table and told the manager will be with me shortly.

Faster.

A drawer was built into the wall with one slightly sticking out. The contrast in hindsight wasn't much but sitting there, it looked significant. Don't be the drawer sticking out. Conform. 

There was dadaist artwork on the walls, buckets measured apart from each other where the keep the iced champagne. Along the wall was a staircase that curved upward. Voices boomed from above. A man wearing casual clothes and glasses approached me and asked who I was waiting for and I told him the manager. After this, the manager took me upstairs and into the room they called The Salon. 

He was frank and concise about what it is they do. "A good number of people end up not working out because they are not 100% fully invested. Nobody in this restaurant is here as a means to get by and go onto the next gig. They are all here because they are passionate about the restaurant industry. They see it as a career."

It was what I needed to hear. Did I want to pursue the career of being in the service industry? This is what he was asking. Up to this point, I had already devoted 7 years to it. All the videos, the fancy deserts, the gastronomy meant nothing if there wasn't passion behind it. The question of travel was brought up. Being that I commute to the city from the southwest suburbs, this posed a significant problem. I mentioned my commuting situation. He laid out a timetable: Start at 2pm. Doors open at 5 pm. Leave at around 1245 to 1 am. This meant, were I to land the job, I would finish at around 1 am, take the red line back, this time to the end of the line at 95th because the Metra doesn't run past 1 am, and then transfer to the Orange Line to get to a bus to take me home. A two hour round trip to and from work. Be in bed by 2:30 am. Wake up at 10 am to do it all over again. I could see living in the city was mandatory if you wanted to work here. How else would anyone be able to make it?

After the sit down, I was handed over to my follow. A nice Pakistani who would fill me in on all the details of my job. I was given a chef suit. About 5 minutes later, the daily meeting to go over reservations was to take place. All servers, hosts, captains, sommeliers, and managers gathered into the room as the head host went over who the plan for the day. Anyone who was of note or importance was mentioned in the reservations. After the plan for the day was done one of the managers said "We have a stage today." 

I was asked what my favorite karaoke song was "Peter Gabriel's Sledgehammer" and what my favorite candy was "Sour Skittles". After the bits of trivia the room broke up into sections. Each section run by a captain who went over what the team they were in charge of could improve. The team members I was with suggested always making sure the guest' glass was full with water while another mentioned signaling for a finished table to be reprepped and reset accordingly and in a timely manner. 

I can count on one hand the number of time I had a team meeting with the restaurant I work at. It isn't fine dining so to expect the type of excellence from it can be a bit much. But sitting through this meeting, I thought to myself: "Is it really much to expect?" Everyone was on the same plane in the room. There was no manager meeting that excluded servers. The managers weren't sitting down to have a meal and talk while servers worked around them. The impact on morale was palpable and it only continued in the group meal. 

The food they had prepared for the group meal was fantastic. The servers and expediter were all seated at a table in the Salon. I listened intently. Talk about Game of Thrones and Lord of the Rings. One discussion about the hospitality of Hooters between two servers. Uncle Nick was spoken of. Nick Kokanos, the co-owner of the restaurant was, according to the information at the table, currently on a vacation in Spain. 

When the meal wrapped up, my trainer showed me through the kitchen and downstairs to where the cleaning supplies is kept and the locker room. From a geographic standpoint, the Salon lead right into the kitchen. In the walkway between the two, there was a single table behind glass. The most exclusive (and expensive) table in the restaurant. He'd take me to each room and tell me about the positions where I was to stand. In the Salon, he went through the table numbers and the way servers come out of the kitchen. It can be compared to choreography. The servers are in a line and when the first course is served, they come out and go to their designated table. They drop the plate and share information about the dish in front of the guest. 

He went through the courses:

Caviar
Charred
Turbot
Thai
India
Lamb
Turf Surf
Japan (this couse was for the Gallery and Kitchen Table)
Beef
Paint

The table where we had our team meal now had plates being polished by a server, while another server was rolling towels. My trainer gave me a task to take several small trays, put in a light and fill it with scented nuts. We divided them between ourselves. I kept thinking to myself, I never would have hough of doing something like his at my resaurant, but again, this was Alinea. At the end of the task he told me about closing work. After every shift, we are given a list of tasks to perform. He broke it down to me and showed me where all the supplies were to do them. It was 15 minutes to 5 pm which was when doors opened. For my stage I would follow my trainer into the Salon and Gallery and position myself at the assigned point in the room to observe. After the server plated the table, I would return to doing two tasks. 

The first task was standing by the stairs and making sure the people coming down or up had clearence so they would not bump into anyone as they hold their tray of food. I'd use hand signals for this. The second task was to wipe down each tray of food the server brought down any bring any remaining glassware or silverware to the dishwashing room.


"Chefs, DOORS!" the expediter shouted. The chefs in the kitchen all shouted DOORS in unison. 

Service began.

The restaurant's limited capacity slowly filled up. I watched the bustle of the kitchen and the chefs concocting intricate food art. I followed my trainer through the Gallery and stopped at the Stage position I was instructed to stop at. What looked to be blackened mangos hung from the ceiling by strings. 

I observed the first course- Caviar- and went back to the kitchen. I've never had caviar, a food almost exclusively reserved for the middle to upper class considering how expensive it is. The Kitchen Table had two black bottles in the middle of it. I asked a server what they were and in a response loaded with sarcasm, "I believe they are sanitizer bottles." It was a sting of embarrasment which dovetailed to self flagellation. Of course those are sanitizer bottles. In hindsight, it shouldn't have been so obvious. I've never seen a restaurant provide them for each table.



I followed my trainer upstairs toward the Salon and was told to wait in the hallway connecting two rooms. The sommelier was preparing a bottle of wine at the top of the stairwell when a server pulled me aside  and told me about the timing of when to enter a room. Timing and coordination was something I continued to see pulled off masterly. 

Whenever there was time to help clean off trays and empty the contents in the dishwashing room, I did it. I had hope this would shown I was capable of taking initiative and one of the new servers told me just that. Once again I was thinking to myself only at Alinea as a glass skull was on the tray where the contents of the food were once placed inside the eyes. 

At one point I was in the Gallery standing in my stage position and watched the captain take one of theblack balls hanging from the ceiling down while another team member wheeled an antique potato skinning machine out. 


"It's time for paint." said my trainer. In any other environment I would have looked at my trainer like he had two heads, but knowing Paint was what the menu titled desert, I anticipated something special. I was in the Gallery and I noticed a chef in the middle of the stairwell. A line of chefs waited from the kitchen area. Queen's Don't Stop Me Now began and the chef on the stairwell came around to each table and sprinkled strawberry dust on each table. When the "Having a good time" section of the song started, the chefs came out and started plating the table with ramekens of sauces and creams. Each table looked like a Picasso of sugary filled goodness. Then, each chef brought out a nitrogen frozen brick of milk chocolate, placed it in the center of each table and smacked it with their spoon, crumbling the pieces onto the table. 

The Kitchen Table got the same treatment only the song was Ghetto Superstition.

The floor manager pulled me aside as it was the end of my stage. He was middle aged, sported chestnut hair and had an Irish accent. 

We went outside and I was taken to an office in back. I was asked how everything went and what I thought of my experience. I told him how different it was from my experience at Olive Garden. On just about every level. The way the kitchen operated. The guest experience. How everyone was in sync with one another to prepare the best meal they could for their guests. 

The problem of transportation came up. Making it non sensical for me to take a job where 2 hours would be devoted just to me getting to and from the location. 

The experience of watching a restaurant take apart a food and put it back together to fool the eyes but to cause the other two senses- smell and taste- to unlock nostalgic bliss on the part of the guest was something, even from on the outside looking in, I will not soon forget. 

Thursday, August 31, 2023

Goodbye Cruel Summer



This summer was marked by the passing of my favorite author, Cormac McCarthy and one of my favorite directors William Friedkin. Sharp stabs to the heart. If that wasn't enough, an uppercut to the chin in the form of Paul Reubens' death.


Barbie/Oppenheimer was on the tip of everyone's tongue. I saw both in the theaters. Twice. A movie produced by Mattel wasn't the liberating movie I thought it would be. Who knew. Oppenheimer on the other hand had me thinking about it for days. The third act was some of the strongest stuff Nolan's done. 

The soft, lapping waves of Action and comedy continually hit me this season. The bulk of what I watched consisted of revisiting old classics like Jurassic Park, Mrs. Doubtfire, Last Action Hero, Bringing Up Baby, Coffy, Falling Down.

Some new movies of note were Carl Franklin's Devil In A Blue Dress, Arthur Bressan's Buddies, Godard's Pierrot Le Fou, Zemeckis' debut I Wanna Hold You Hand. My favorite new discovery of the summer was Five Elements Ninjas. Japanese and Hong Kong action films are something I keep on returning to this year. 

On the TV front, there were old loves I reacquianted myself with. I jumped back into watching Justified. Season 5 reaffirming Elmore Leonard's voice as something I would like to hear more and more. Peep Show became medicine for me. Painfully funny medicine with exruciatingly uncomfortable situational comedy that ranks with anything Larry David produced. 

Soderbergh released Full Circle, harkening back to his geopolitical epic scope of Traffic. The Righteous Gemstones saw Danny McBride, Jody Hill and David Gordon Green collectively craft some of the best work they've done. Something that surpasses Eastbound and Down in ambition and writing. Speaking of third seasons of comedy shows, I Think You Should Leave filled in the whole Tim and Eric/Steve Brule adjacent hole in my heart. White House Plumbers and Telemarketers were two miniseries I got invested in and proved worthwhile entertainment. 

All of that said, The Bear reigned supreme over all. It doesn't quite topple Succession as my favorite show of the year. But it comes close. Particularly episodes 6, 8 and 10. 

I'm a horror fiend. It's a genre I hold so close to my heart, every year I dedicate September and October exclusively to horror movies. What I've found this year more than any other is I almost don't want summer to end. So much so, I breathed a sigh of relief when I remembered August had 31 days instead of just 30. I'm usually jonesing for the fall to bring the leaves crashing down with the chilly bursts of wind. 

Two episodes of television I ended my summer on are Summer Song from The Wonder Years and Summer of 4 Ft. 2 from The Simpsons. There's some startling similarities. Both use songs from The Beach Boys. Paul is basically Milhouse in this scenario. What I've found in both episodes is how simple the story structure is and how other elements guide the story. Whether it's pop music and score to accent the mood. Or just a well placed joke that rings true because of how universal the situation is. It reminded me of why these shows still hold up today.  


It's a bittersweet farewell. A last look at the beautiful ocean scenery. 

Before we transition in the next season, I would like to do something a little different. The last post I made on this blog was how I was going to spend the summer. During that time, I have been writing. A lot. The fruits of these labors will be unleashed in the coming month. Of what I can reveal about these pieces is this: don't expect all of them to be movie centric. This is Between the Reels, yes. But lately I've been feeling a little confined within that title. Or maybe I should say the next handful of posts go Beyond the Reels. 

P.S. 











Thursday, June 8, 2023

How I'll Spend My Summer Vacation: 2023 edition

FILLING IN THE GAPS 
I associate summer with action and comedy. Like horror, there is plenty of treasure to be mined in both camps. As per usual I will be mixing it up with some classics and ones I haven't seen before. 

THE CRITERION CHANNEL
It's a season where the thrillers come with seductive glances and beads of sweat on the forehead. So the hits will follow suit. Thankfully, Crtierion Channel has given us an Erotic Thrillers program that includes Poison Ivy, The Last Seduction, Jade, Color of Night, Crimes of Passion, Body Double and more. All your erotic desires will be satiated. 



PEEP SHOW
Succession and Barry aired their final episodes on May 28th, thus creating a void. With Succession, Jesse Armstrong has become one of my favorite writers in any medium. So having missed the boat on his comedy Peep Show, I aim to rectify it.


THE BEAR SEASON 2
No other show has me more excited this summer than the return of The Bear. I've written extensively about it here before. Carmy and the gang plan to heat up the burners for another season. 

HAPPY ANNIVERSARY
As I did with 1972, there will be a celebration of the films of 1973 all year long. The festivities culminating in one big post at the end of the year where I rank my favorites. Play along if you want. Just remember, if there's ever an anniversary of a movie to celebrate, it's the 50th. By 2073, we'll be underwater so better to go all out while we still can. 

Speaking of anniversaries, films from '93, '83 will also be highlighted. 


A SUMMER OF READING
There's too many books on my to read list, but here are a handful that are near the top:

City of Night by John Rechy
An unflinching account of a male hustler and his search for self knowledge. James Baldwin said of Rechy "His tone rings absolutely true, is absolutely his own; and he has the kind of discipline which allows him a rare and beautiful reckless."

Everybody: A Book About Freedom by Olivia Laing
Through a series of essays, Laing charts a course through bodily freedom by using psychologist Wilhelm Reich to explore gay rights and sexual liberation, feminism and the civil right movement.

City of Nets by Otto Friedrich
A history of classic 1940s Hollywood starting in 1939 and ending in 1950. 

Crossroads by Jonathan Franzen
Suburban youth group drama in Chicago in the 1970s. There is nothing cool about the premise on paper. Having reading Franzen's Freedom a few years ago, I found his ability to get inside the heads of characters through exploring human dynamics and how communities function- specifically the family unit- to be powerful and fascinating. 

Summer of Night by Dan Simmons
There are three essential 'coming of age' books in the horror lit canon: It by Stephen King, Boy's Life by Robert McCammon and this. I've read and adored the first two so I'm excited to see how this one lives up to them. 









Saturday, April 8, 2023

S W A R M


  AtlantA's ending was bittersweet, as is any good Series Finale: you're happy to see it end but you're gonna miss it. Thankfully, with SWARM on Amazon Prime, it's like AtlantA never left...or, no, it's like AtlantA died but it was buried in the pet sematary and came back different. Swarm is screamingly funny, disturbing, surreal, intense, and challenging. Think of it like a cross between ZOLA and Stephen King's MISERY (with trace elements of Get Out and Fargo). With a great lead performance, killer photography and editing, it's the first thing this year to really fucking excite me. Seriously, Dominique Fishback gives one Hell of a shapeshifting, evolving performance over 7 episodes.

  Janine Nabors, co-creator of Swarm,
"I don't like putting in any kind of 'message,' I prefer creating feelings, feelings that stick with you and have you, later on, asking yourself 'Why do I feel this way? why can't I stop thinking about this show? I don't think I've ever seen anything like this on TV' and having to sit with that and think about it."

   Season 3 of Atlanta opens with a white lesbian couple who enslave, parade, abuse, and attempt to murder their black foster children - based on a true story where a lesbian couple actually, tragically, killed their black foster children and themselves (The Hart Family). Now, it's not lost on me that gay couples have a hard time adopting because of social stigmas, bigotry, etc. But to ignore the story of The Hart Family Murders/Suicides would be erasure of that story's victims and the malicious roots of its racial politics. To be clear: it never shows them, doing it _because_ they're gay, nor implies anything of the sort. Them being lesbians is incidental.

  The Devonte Hart stand-in [whose name is Loquareeous but is renamed/gentrified as 'Larry'] is sent to live with this couple because his [black] Mom scares the [white] guidance counselor at school. Now, she doesn't do anything violent, she's just harsh and kinda loud. It almost feels like the show is daring its white audience to find fault with her parenting even as it juxtaposes her with the soft-spoken, giggly, 'woke,' organic, kombucha-loving granola white ladies as the actual abusers. Thankfully, unlike the real tragedy of the Hart Family, the children survive and Loquareeous goes back to where he should be: with his Mom. It's a queasy but necessary juxtaposition that dismantles both the Angry Black Woman stereotype and the idea of pure, innocent white ladies. There is the middle-ground compromise of humanizing all three women...



  ...but Donald Glover scorches the earth of middle-ground for one of AtlantA's--and television's--best episodes. It's an episode that feels 'dangerous,' risky, which makes it exciting, like you'll be cancelled for enjoying it (and he would go on to do it again in episode 4, The Big Payback, where a seemingly obnoxious black woman [provocatively named Shaniqua Johnson] harasses a white dude for almost the entire episode about reparations).

   Along with co-creator Janine Nabors, Glover continues that risk-taking in SWARM. It's about a Beyonce stan whose obsessive fandom turns to serial killing after her only IRL friend commits suicide. Usually, in True Crime, women of color (especially sex workers) are known as the 'Less-Dead' because police usually don't notice nor care about them, which is why serial killers and/or kidnappers target them: they're easy prey and low priority (they would actually write D.N.I. on their bodybags, which stands for Do Not Investigate). As the show puts it, "they fall through the cracks."

   Swarm asks and answers their own question, "What if you turned that inside-out?" by giving black women their Pearl (no, we're not gonna include Octavia Spencer in MA, a stupid movie written and directed by a white dude who was way out of his element). Just as black female victims fall through the cracks, so would a black female serial killer - police never suspect it's a black woman which is one of the show's best running jokes (with a superb payoff).


   I think the spirit of this show stems from black creators and audiences being sick of the tip-toeing - of black characters being boxed in because white showrunners are afraid of their shows (and themselves) being capital-C Cancelled. It's cowardly, for sure, but, digging in, it comes from a fear of portraying black people in the wrong light. There's the dangerous stereotype that black people are violent and untrustworthy, usually juxtaposed with white people as being more virtuous, good-natured, and passive - which is especially true for Black Women who are, more often than not, portrayed as madwomen; crazy, irrational, angry. The 'balance' to that is to portray black women as pure, goddess-like, without fault, sometimes outright magical or as a plot device to uplift a white heroine. Either way, it sucks. Swarm doesn't do any of that. In fact, the show is partially about the harmful effects of deifying human beings.

  Our anti-heroine, 'Dre, is everything white liberal writers try to avoid: wild-eyed and insane, picking people off while screeching and laughing hysterically. Hell, if I'd seen a clip from Swarm without context, it'd probably ruffle my white guilt and I'd rush online to tell you all not to watch it with some overwritten didactic piece. But this is a 7-episode character study so we're given incredible nuance along with the brutality and insanity.
Not to mention, like, white ladies have had plenty of violent, challenging characters in the past decade (sometimes with some insultingly sassy black sidekick) so black women are more than due for a character like 'Dre, especially on a platform as huge as Amazon Prime.

  Just like with Walter White, Tony Soprano, Don Draper, etc. we're not even meant to like or root for 'Dre. She's just a compelling character to watch and there's never a moment where we get some traumatic sob story to help white people 'enjoy' her actions. She isn't ornamental, she doesn't sparkle with Black Girl Magic for white women to adorn their tumblrs with. She's disgusting, intense, weird, devoid of charisma and impossible to get comfortable with - I haven't seen a role like this for a black actress since Lupita N'yongo's creepy-as-fuck turn as Red in Jordan Peele's US.


   There's a great scene late in the season where a social worker tells a [white] True Crime documentary crew that there is no easy explanation for why 'Dre is the way she is. There's nothing convenient to cling to to make her sympathetic.

  She's fucked up and you're just gonna have to live with that.