Table of Contents

Post-Holiday Haze

Hiya friends! It’s been a bit but I’m back for the standard End of Year Wrap-Up/What Have We Learned/Well-Wishes For the New Year shebang. Except, you know, after the new year has already passed and all that.

Just because I haven’t been updating every week doesn’t mean I’ve stopped watching things. Faaaaaar from it. While in a frenzy to finish my roommate’s holiday present I discovered that Star Trek: TOS makes wonderful background viewing. I’m now late into Season 2 and my roommate loves her cross stitch masterpiece.

I think the quality of story in Season 2 is overall better, although there are still some clunky episodes that revolve around sensationalism (or maybe I just watched “Gamesters of Triskelion” last night). There’s definitely more of a throughline regarding the larger universe – Andorians, Klingons, and Romulans all appear multiple times. Also there are episodes willing to be completely wacky and out there (evil sentient force in the universe responsible for Jack the Ripper, looking at you) while a good number of episodes seem very grounding and science-based space problems that are fun to watch the crew solve. It feels like a lot more high concept premises but mixed in with deeper character stuff that allows the show to feel more fleshed out and whole. Spotting the UNCLE crossover guest actor is also a treat for me now. Despite having watched the first two seasons of Star Trek first (many years ago) I’m very much recognizing from UNCLE -> Trek and not the other way around. Although watching “Wolf in the Fold” and Fitzwilly two days later I immediately recognized John Fiedler. I mean, sounding like Piglet definitely helps. And obviously there was Barbara Feldon.

Bridgerton

Like many out there I spent a solid few days watching the entirety of Bridgerton. The costumes are gorgeous and the characters are really well developed and complex. I did find the middle of the season dragged a bit as a lot of conflict stemmed from characters who were supposed to be best friends just…refusing to talk to each other. And that aspect ruining some otherwise really big life events. Like, did Daphne really need to feel so depressed and anxious on her wedding day? Is that really fair? While there are some lighthearted moments that lift the series up, there was a lot more bubble and fizz to the first half of the season that made it addictive. Less of that in the second half as I felt there was a lot of unnecessary drama weighing it down. I’m cool with couples fighting and taking a turn for the serious! But not at the expense of essentially ruining the core principles of the central relationship.

I do wonder if this is going to be a common theme with romance novels-turned-series. I felt like Outlander did much the same thing sometimes. Taking what was lighthearted in the books and cranking up the angst in the television show for maximum drama. I know romance is supposed to be fraught and full of longing and passion but translated to screen in this way it’s extremely frustrating.

Ghosts

Biggest and best discovery of December was for sure Ghosts on BBC. Each season is 6 half hour episodes and it took me…two days? Definitely doable in a day, though. It’s a wonderful blend of history jokes, character comedy, ensemble shenanigans, and a great British comedy throwback because all the ghost characters bring in those aspects of other shows. (The Captain is Dad’s Army, Lady Button is any period piece, etc.) Obviously Tom the Byronic poet is my favorite character because he speaks to my deep dark sad soul (I often long for a sighing window) but it’s really the power of a large cast working together a la Community that makes it incredibly watchable.

Holiday Affair (1949)

I didn’t do much for the holidays outside of hang out with my roommates and drink eggnog, but I did participate in TCM’s annual airing of Holiday Affair with Janet Leigh and Robert Mitchum. I find the movie really refreshing (in terms of holiday classics) and Mitchum has an airiness to him that isn’t present in other characters. The depiction of a wartime widow raising a son in a tiny Manhattan apartment adds a lot of groundedness and insight into daily life that I prefer from older romantic comedies. Despite the good chemistry between the leads, I think my favorite scene is near the end when Leigh in the car with her fiance, Wendell Corey. Corey plays the platonic ideal of the safe, steady bet and nicest guy you could know. It’s not very realistic but the way he breaks up with Leigh is a masterclass of “don’t make the audience feel guilty.” Then, of course, there’s the knockout comedy scene that drew me to the film in the first place.

I’ve also become quite attached to the music.

EOY Watch Stats

Since it is the beginning of the year, I put together some lists of the movies and seasons of TV I watched:

^ means I watched it in theaters (lol)
+ is new-to-me

I didn’t include movies I only partially watched, either starting and never finishing or just catching a bit of it (or running in the background) while I do other things in the living room. This system hurts me much more in my round up of complete television seasons, as there are many shows I’ve watched many episodes of yet haven’t completed entirely. Still, I seem to have leaned on TV way more in the last year than film.

* means final season

In similar time-related news, I’ve finally flipped over from Nov 2016 of my catch up to Dec 2016. Only took a year or two. In the process I finished Class (meh), season 1 of 3% (unexpectedly fantastic), Queen Sugar (I think I’m more excited for S2), and almost done with Dirk Gently. Exciting times.

Bogie Busters

I’m back! Being an American, I spent last week cooking small birds and chocolate desserts. I hope everyone who celebrated had a nice relaxing Thanksgiving staying at home.

Today will not be part three of Destiel, as my last two posts about it were quite lengthy and I’ve been neglecting everything else I usually write about. It’s been about…three weeks since I’ve done a weekly update and there’s a lot going on.

Been watching more TCM in general, usually just catching snippets of whatever’s on. They keep movies on the app for a few weeks so when a while ago they had a whole day of Bogart I started watching one every night – San Quentin, Racket Busters, King of the Underworld and They Drive By Night. Sadly, I had to be told, after years and years of watching his movies, that Bogie was, in fact, short. This detail had completely escaped me. Now it’s all I can see. 

Shorty.

I guess because he always seems like he’s slouching yet has a towering presence. 

Racket Busters was the weakest of the bunch. Mostly forgettable and Bogart is only in a few scenes playing a generic villain. It was a typical WB socially conscious film but didn’t have any punch to it and the main character turning halfway through the movie doesn’t really earn his redemptive arc at the end since all his friends died. I had to wonder if this film was anti-union as well as anti-gangster. Rackets were a huge union problem but they also solved the problem by all banding together so….

King of the Underworld was clearly at a time when movies were still experimenting with where you can take a narrative in an hour – it just had too many things going on. The first fifteen minutes are focused almost exclusively on the husband and then he dies offscreen and the rest of the film is about his wife who moves to a small town to re-establish her practice and hunt down the gangster her husband was working for. Each of these threads could have been interesting (especially the competition in the small town, I think) but none were ever fully explored and the tone felt all over the place. Bogart is super engaging as a villain though, instead of a stock character he infused Joe Gurney with a sense of humor and inquisitiveness that made you understand his need for power. He fashioned himself as one of the greats, taking a biography he read of Napoleon as an inspiration. Fascinating stuff, yet there wasn’t enough time to let anything breathe. I’ve always been on the fence about Kay Francis. She was fine enough in the role but she’s one of those actresses I can’t remember anything about when I hear about her.

San Quentin was a pretty good gem – a case for prison reform that treats inmates as diverse people with individuality. Newly San Quentin prison captain hiree Pat O’Brien falls in love with cabaret singer Ann Sheridan right before her brother gets arrested and sent to the big house. The triangle plays out roughly along the lines that you’d expect and there’s a very well-filmed exciting prison escape through the California hills. What struck me most was the scene where O’Brien is doing spot inspections and talks to four or five prisoners in a row – one’s a religious zealot, one’s a writer (“I could never understand how a man with your brains got into a place like this.” “Well, I couldn’t live on rejection slips.”), an old-timer, a green newbie. It’s WB humanism at its best as it highlights and sympathizes with people of all stripes. 

Ann Sheridan didn’t make a particularly big impact on me in San Quentin, but I LOVED her in They Drive By Night. Her no-nonsense waitress whose seen it all really added spitfire to tale about two brothers in a job way too dangerous for mortals. It’s one of those movies that I’d really like to watch even one more time (I saw it a few years ago) to really get a handle on but I’m hoping to do that soon because it was so good and taut and well-crafted. Also George Raft’s hairstyle always make me laugh.

Nov 2016 Watch

People of Earth is an incredibly good comedy that was gone way, way too soon. It’s weird and silly and completely bonkers and I love its absurdism. Another text that likes looking at all different kind of people and reactions, digging into what makes them act certain ways.  At the same time, it’s a great ensemble comedy that feels different to the tight knit codependency of Community or Parks & Rec but rather enjoys taking its time developing strong bonds between particular members and then letting them at each other’s throats.

3%  is engaging with fantastic set design although I’m still a little worn out by dystopias. The ultimate message of “capitalism is bad actually” is very well made although the mysteries around the head of the process Ezequiel are a little drawn out. I find the characters to be more and more engaging but I’m actually terrified of getting attached to anyone. I’ve seen 3 episodes so far and am at least looking forward to more, even though it’s not at the top of my list. Also everyone is incredibly hot. 

Frontier remains the trashiest version of GOT possible and I’m extremely here for it. There are too many characters, plotlines, and attempts to appear as a serious, thinky show (the quotes at the beginning especially get me) but at its heart it’s a horny, violent mess and I love shows with gooey centers.

The Glorious Mess of ‘Destiel is Canon’ – Part Two: The Show That Dragged Me To Hell

As should be clear by now, Destiel fans have had a long and embattled relationship with the creators of the show. For years and years (and years) there have been arguments over queerbaiting and how much the creators actually care about the characters and whether or not the storylines are stunted by a constant refusal to own up to the idea that yeah, maybe some people accidentally wrote a queer character. And while people in and outside of fandom will tell you that the majority of fans are women, it should also be noted that the majority of fans of SPN of this early era were queer women, or would someday realize they were queer women, or would just have a general aura of queerness about their person. Fans now are also probably very queer but I don’t have as much data, anecdotal or otherwise, to speak on that behalf. So yeah, this stuff went deep. Emotions flew high. Everyone involved took it very, very personally.

So let me set the stage here: it’s Thursday, Nov 5th, 2020. The US election had been two days prior and because the US has an outsized influence on the politics of the rest of the world, it seems like all of twitter across the globe is constantly refreshing and refreshing, desperate for any sort of update. What’s going on in Georgia? Will Nevada ever get back to us? Why is Gritty asking us to fuck around and find out? (we know why) And then very slowly, around 9 PM, a few tweets start to trickle in. The latest episode of Supernatural just ended and the only fandom friend on your feed who still watches the show is going on about the big thing that happened. And then more tweets start popping up as people hear the news. 

By 9:15 your feed is completely flooded by people screaming about how Castiel said a tearful ‘I love you’ to Dean Winchester, and then died immediately. 

The reason that this development is so immediately funny is the long history of the Bury Your Gays trope. Throughout all of media, queer people are always the ones more likely to die first, die often, and die most violently or tragically. As though being queer is a portent of doom for those who dare to not live their life according to the rules of heterosexuality. A main character who professes his love for another man and within seconds gets sucked into the worst kind of afterlife imaginable? Hilarious.

It stung (or was unconscionably hilarious) particularly because it came from Supernatural. It feels like both a gift and a slap in the face from the writers. Supernatural, after fifteen years on air, has a reputation. It’s always been a lightning rod of fandom, a pillar of the Livejournal and tumblr community as one of the biggest and most popular telefantasy shows. But the fandom is a volatile one, especially prone to in-fighting, flaming, all sorts of controversies either with the creators or with other fans. The wreckage of the early years of SPN still feels relevant in these moments because so many were involved and it took so much of our emotional capacities. I’m not even joking. People (including me!) felt so deeply for the characters and the storylines that arguing about it was difficult and occasionally hurtful work. People felt pain that Destiel wasn’t canon, that their favorite characters were fundamentally unhappy or denying an important part of themselves, and you can blame them for living in a “fantasy world” all you want, but it doesn’t negate the amount of effort and time put into something that you love that you can never take back. All that stuff, that level of emotion, is locked in forever, even if you eventually move on to other, saner things. We talk about fandom, particularly SPN fandom, as though it was a war. We experience flashbacks to a time in our lives when this was the most important thing to be happening and make sarcastic comparisons to ‘Nam.

If you don’t get this reference: congrats, you’ve never been to tumblr.

What it really all made me think of is the role of fandom in our lives (that’s a lie, I’m always thinking about this) and why Supernatural in particular has such a fucked up, hardcore history that makes people absolutely freakin’ lose it whenever something hilarious like this happens. I think the answer in this particular case is twofold:

1. The act of being a fan to the degree of fandom in general has a particular nature to it. You may or may not participate in fandom culture, but the devotion and need to “protect” or “defend” the show is fairly universal to this type of fan. I find that when I feel pulled toward a fandom, it’s not because I’m identifying with a particular character or storyline or artistic style of a show but with the whole show itself. While shows can’t represent all of a person, and it’s incredibly difficult to communicate to another person all of yourself, certain shows can make it easier. It can be a way of saying “this is a concrete, observable part of me. How I feel, how I think, how I act. This show, whether it wanted to or not, is now carrying some burden of representing me as a person, because I love it and understand it so deeply.” You may eventually move on from the show, but like a tattoo, it remains emblematic of a time in your life, of who you were and the things you cared about. You start to regard the show not just as an hour of entertainment a week but as a part of yourself. And if you’ve incorporated this show into your sense of self, someone criticizing the show sounds like a criticism of you. (This is a very collapsed version of self-identification, obviously there are a lot of complexities and nuances that come along with being in a fandom and people have many different kinds of experiences and relationships to their shows.) I think part of why people get so passionate about the direction a show is taking and the choices being made is because they essentially don’t want to have to break up with themselves. But they also don’t want the show to represent them falsely. Impossible balance, clearly.

2. Supernatural, in particular, is a show all about family. The point of the show seems to be that family is the most important thing in the world. It’s more important that your dad or your brother live than yourself. No matter how twisted, complex, or downright abusive family can be, the thing that matters most is showing up and not letting anyone else fuck with it. (I never said it was a good lesson.) You stick with family through thick and thin, never, ever leave them behind, and hell to the person who tries to separate you. Now apply that lesson to the thousands of fans who see the show as part of themselves. The show itself becomes family and we know very, very well how family is treated. In its working class, Americana style, SPN has taught its fans that it’s okay to argue and bicker and treat each other like crap under the guise of a love that’s so fierce that it could anger the devil and defeat God.

People don’t really just walk away from a fandom like that.

So when news about a major development in the show’s history breaks, and it’s clearly been handled so bizzarely and poorly that people are making memes about the actors filming the scene at gunpoint, you feel that drag of 2012 fandom culture start to beckon you back. It’s hilarious becuase you thought you could escape this, it’s hilarious because you thought the writers couldn’t possibly fuck you over again, it’s absolutely hilarious because everyone around you feels the same way.

Supernatural as a show was my entire life for a good four and a half years, from the day the pilot aired. Every Thursday at 8 PM it was time for the rest of my family to shut up and leave me alone for two hours so I could get my weekly doses of SPN and Smallville. I would also make sure to record the episodes on VHS so that I could catch stuff I missed later or if, horror upon horror, I had to be somewhere at 8 PM that wasn’t in front of the TV (if I watched it the night of it still counted as live). One time, during season five, my VHS didn’t record the episode properly and I missed a live episode for the first time ever and I cried. While I wasn’t as enthusiastic about the addition of Castiel or the fifth season, it still held a substantial place in my heart as a rare palatable horror show with mood, feeling, characters I adored, and a really amazing mythology. I didn’t dump the show like a lot of my friends who got frustrated with the relationship with the creators or the lack of gayness. I still retained my happy associations of earlier years as my interest in watching it week to week slowly faded as the storyline got more boring and convoluted. It was still important to my idea of myself as a teenager though. I’ve been lucky enough to have two friends be cool, impressive Deans to my nerdy, academic Sam. As much as SPN was a horror show (literally and figuratively) most of my friends who I talk to today stem from that time period and fandom space.

My feed lighting up with mentions of Destiel brought me so much laughter not because of the show but because of the people who have been affected by the show. Which in turn makes it about the show again, and what an awful job they did, and how is this happening in 2020. The continual feedback loop of brokenness and love is ever flowing. This enough would have been a special moment for me, as a sort of SPN renassaince took over my feed and reinvigorated long dead debates. But then the Supernatural moment became a fandom moment, casting a far wider net and impact than could possibly be expected. We’ll get to that bit next time.

The Glorious Mess of ‘Destiel is Canon’ – Part One

You may have noticed I didn’t make a post last week and you may have guessed why.

As I’m American, there wasn’t really much else I wanted to talk about Monday night (or Tuesday night, or Wednesday, etc. etc.) and looking back to the past week of viewing didn’t really appeal to me as an activity. It’s not that I don’t want to be political (Trump is a fascist) but that I don’t want that to be the blog. Writing about shows weekly is my happy little reflection pool of what’s going on in my head and while politics and culture can’t and shouldn’t be separated, I’m not all that interested in talking about the news.

All that said, last week something amazing happened. Something incontrovertible and beyond question. A decision was made that would shape the world for years to come.

Destiel is canon.

I’ve been having a hard time wrapping my head around writing this post up, getting myself to finally sit down and do it. Not because of having to explain so many things about the ship and the show and the exact timing of this event that caused an entire 9/10ths of the fandom, for years dormant and forever salty, to essentially explode with yelling and memes and more yelling. No, not because of any of that. I’m hesitant to write this post because I don’t think it’s even possible to convey how hysterically funny it is. How perfect and complete a shitpost it is that it’s hardly farfetched to call it real, true art. This new twenty second clip of a fifteen year old show two episodes from being off the air forever proved that old habits and character obsessions die hard and nothing is as good as dramatically and needlessly dying than the characters on Supernatural.

So yeah, I’m hesitant to write about it because there’s no possible way that I could ever do the beauty and grace of this moment justice with my words. But hell if that ever stopped anyone at any time writing for Supernatural so let’s just fucking go.

We can start with the most obvious bits. With the disclaimer that I have not watched this show in ten years, here is what I understand to have happened on the show proper. Supernatural (SPN) is about two brothers road tripping across America, fighting demons and urban legends, having emotional conversations on the hood of their ‘67 Impala and getting saved from hell by angels. This last part is how Season 4 started, and while there were a good number of people who had primarily been interested up to that point in the drama between the brothers, Season 4 brought a whole new perspective on human/angel relations. The human being named Dean, the angel being named Castiel. 

As fandom convention would have it in the mid-aughts and later, this pairing in fanfic and other fandom spaces was referred to as DeanCas, Dean/Cas, and Destiel. Destiel fans were passionate, they were intense, they were unafraid to ask incredibly probing and aggressive questions of the actors during conventions, they are the single most populous force on Archive of Our Own.  (This is not to say that fans of other ships in Supernatural are any less intense – indeed, ALL of SPN fandom is crazy bonkers insane times, especially when engaged in ship wars, and should be avoided whenever and however possible.) Naturally, because faith in yourself and your family beyond reason is, you know, maybe a central tenet of the show or something, Destiel fans very quickly believed that the relationship would become real on the show. 

While slightly more believable than the idea of the two brothers hooking up (this was pre-GOT and certainly not allowed to be as edgy as prestige TV), the likelihood of Dean coming out as bisexual seemed low. Or was it? Because for the eleven years the various writers and producers, who by necessity were very aware of fans and their activities, had to toe the fine line of maintaining the right closeness between the characters to make the plot work and not fully giving into unabashed romance. It’s a precise highwire act that only the best in the business would be able to maintain – so obviously, they failed. All the time. Either leaning very hard into the Dean/Cas relationship without making it explicit (it’s clear that there were some showrunners who weren’t entirely opposed to the idea in concept but maybe in logistics) or backing so far away from anything queer-related that homophobia is a reasonable, and even necessary, term to use. So basically, the term queerbaiting seems to have been invented specifically for this series. 

Cut to last Thursday. It is two weeks before very last episode of Supernatural  ever airs, after COVID delays pushed back the series finale from March to November. Some other things are happening in the nation and people are on edge and waiting to hear something, anything, substantial. I want to say in the last scene of the episode (although I honestly do not know again I have not seen anything since season 6 at the very latest) Dean and Castiel are in a room somewhere and Castiel the angel decides that now is the time, now is the very moment, to tell Dean that he loves him. Right now, not a second to lose. Why? Well, because Castiel has made a deal with a black oozing entity called The Empty in which he will get sent to a place worse-than-hell that is where angels and demons go to die, no like really die, they’re dead this time guys. The deal involves Castiel being taken by The Empty after experiencing a moment of true happiness. (Hmmm. This sounds familiar, you might be saying, except it doesn’t involve the ancient paranormal creature having sex with a sixteen-year-old.

That’s right folks. Castiel tells Dean his true feelings and immediately gets sucked into super hell by a black pile of goo. 

Naturally, there was some reaction to this.

Now, let me be clear. I have never cared about Destiel. In fact the reason I had stopped watching the show was because a) I lost interest in Sam after I realized that no, Lena, there is no acting ability here and b) Castiel became a main character and constant annoying presence. This is nothing to do about whether or not Dean and Castiel actually had legs as a pairing or the acting ability/chemistry of either, but more to do with, say, me being a dumb teen fervent in her beliefs that if Castiel would just gtfo then Sam would have better storylines. So Destiel wasn’t exactly top of my interests, especially not well past the time I had stopped paying attention to the show. Except for last Thursday when the magical moment happened, and I found myself only and forever thinking about Destiel. 

This post is plenty long enough and tough (maybe?) to digest so I’m going to cut it here for now and come back with more of what exactly was happening Thursday night (with tweets!), why it happened, and, most importantly, my personal journal of SPN fandom.

Doctor Who, Outer Limits, Night Gallery & Perry Mason

I have returned! I have a functioning laptop and everything. Things are looking up.

The past few weeks have been really exciting. I spent a lot of my free time (and non-free time) rewatching Doctor Who so that I could host a round about Jamie McCrimmon for Quiz of Rassilon. If you are a Who fan who doesn’t know about Quiz of Rassilon then a) you are about to become extremely happy and b) I’ve written about it! Hosting a round was genuinely great and I enjoyed seeing the scroll of comments cursing my name as I barraged people with incredibly difficult questions about my favorite piper.

Having seen “The Mind Robber” too many times to count I think I’m ready to finally admit that “The War Games” is my favorite Troughton serial now. It’s so incredible – stylistically, narratively, emotinally. It touches on a lot of things but doesn’t go deeply into them, leaving a lot of room for personal analysis and for writers to play around I think. It also serves as the greatest hits of Troughton’s Doctor as is it was his last serial. While they didn’t make a big deal out of it the way finales are treated now, we got the Doctor blustering into a stranger’s office and pulling rank, trying out some accents, getting into some comedy hijinks with Jamie, and doing an awful lot of running. Plus, he’s pitted against a character who is clearly the Master. It’s one of those strange instances where the 10 episode monstrosity is anything but bloated and could probably function reasonably well as an entire show unto itself. Incredibly rich stuff to lead us out of the 60s. I’m considering following up and continuing with the Third Doctor (I find it quite difficult sometimes to get through Third and Fourth Doctor stuff, I will not be taking arguments) but I’ve crammed so much Doctor Who into such a short amount of time that I’m ready for a bit of a break.

McCallum Mania

Once I was able to focus on literally anything else again, I found myself scrolling through David McCallum’s imdb and checking off a bunch of his guest appearances. I had already seen the “Sixth Finger” episode of Outer Limits (because it’s wildly famous, apparently) but had no idea that he had also starred in “The Forms of Things Unknown,” which was kind of written as a pilot of what would have been a different show called The Unknown.

A lot of the direction and images are absolutely gorgeous and the actors give their all trying to make their characters as recognizable yet creepy as possible, but unfortunately this episode has so much pretention and obscurity heaped onto it it’s impossible to really engage or even feel anything. It’s using a lot of the trappings of New Wave and making as many “interesting” choices as it can but it’s never for the service of the story or characters so it just doesn’t make any sense. McCallum has some terrific moments as a scientist who believes he’s found a way to slip time back and wake the dead (after having woken himself up first) and there are moments where he leers on the screen that are wildly magnetic. Kind of a shame that nothing quite works the way it should.

gif by toadstoned.tumblr.com, a true ally
The Partridge Family Mental Institute: Come on, get happy!

He was also in an episode of Night Gallery, a story which literally took me five hours to remember I watched. He plays a psychiatrist at a mental institution and once a patient’s outbursts and blatant lies about a farmhouse and a woman named Marian start getting to him, he decides to check out the ruins of the farmhouse himself. Except the farmhouse is there, and he falls in love with Marian, and refuses to believe that she is a werewolf despite the mulitple mutilated sheep and people piling up around him, plus the fact that she tells him she’s a monster and begs her to leave. At one point I thought the twist might turn out to be that David was a patient falling under another patient’s delusions, which has certainly been done before but would at least have made some sort of sense. Nope. It’s a bunch of choppy editing, tonal shifts, stylistic choices and weirdly untouched sexism and racism that makes this a thoroughly mediocre outing. Marian’s wig and original white Victorian dress are fascinatingly bad, the leads have no chemistry, and just about the only thing I enjoyed was seeing McCallum’s flowing ’70s locks, him dressed in a turtleneck sweater and the treehouse set. That turtleneck sweater got me through a lot.

Finally, I watched my first episode of Perry Mason (the older version, obviously. I’ve seen exactly one episode of the 2020 remake). In “Fifty-Millionth Frenchman” McCallum was a Frenchman who got caught up in a wife’s scheme to kill her husband after they had both decided to kill her husband’s boss. There was a lot of plot but none of it really mattered. McCallum was kind of sweet as a bookish nerd whose only goal in life was to own the bookshop he worked at, but as far as cases or tolerable accents go, this episode wasn’t one of them.

I do now have the issue of not quite knowing what to watch next after a torrent of steady Doctor Who for a purpose. I’ve bought myself a copy of the 1958 BBC “Our Mutual Friend” miniseries, but who knows when it will arrive. Next up might just have to be Freud: The Secret Passion or Sol Madrid if I can ever find a watchable copy of it.

No post this week as I’m setting up my new laptop (long story there) and working on some big projects. Maybe I’ll do a double feature next week!

I’m also hoping to go back to some of the posts I made in the Between times to clean them up and add some pics, so if you’re really desperate for sweet, sweet content you can always go back and reread.

Copyright © 2024 Lena Barkin — Uptown Style WordPress theme by GoDaddy