The Absurd Economic Fantasy That is 50 Shades And Why Doesn't Anyone Ever Want to Write About Work?

I won't cover all the well-trod territory that has been written elsewhere about how ridiculous this series is. I just watched the second movie because, well, it was there and it was raining outside.  I wanted to talk about money, but first one small sidebar: how on earth do you make a movie about sex where Jamie Dornan is hotter as the serial killer in The Fall than he is as the male lead in the aforementioned sex movie (which is to say, not at all)? 

So here's the "economy" of these movies. You stumble out of college with ostensibly no real skills and accidentally come upon a job opportunity (unearned) interviewing this business guy. Despite you being exceptionally bad at this interviewing gig, business guy falls in love with you, and is of course fabulously wealthy (never mind the stalking and stuff). You would never have to work. You would never have to worry about making decisions--about what to eat, what to wear, how to have sex--because he likes to control everything and your only question is whether or not you're down with that. 

--Short interlude--you break up because you dislike and felt emotionally abused by his main way of getting his kicks. You've got a job at a publishing house--you go girl! Movies/book like these never seem to have any comprehension of what work, let alone work in publishing, is. Work is generally a topic that is often glossed over in fiction, which is crazy if you think about it. People in America work 40, 50, sometimes even more hours a week. We spend more time at work than we do at home, if you subtract the time we spend sleeping. Depending on the week, sometimes I see colleagues more than I see my friends.  Work, that is, what we do with the majority of our lives, is such a huge part of who we are. It is, at a minimum, the thing we occupy our minds with most of the time, and at a maximum, is heavily tied into our identities. I wish there were more compelling stories that were focused on work, rather than work being the background for "grander" stories--about romance, about mystery, or whatever else. I don't think there is a word for it in English, but I've noticed that people really enjoy watching other people be really competent at the thing they excel at--it doesn't matter what that thing is, but the level of expertise and interest of that person is for some reason fascinating. I recently watched The Post, and rewatched All the President's Men and Spotlight, three movies about journalism that despite their dark content, are a joy to watch. You see people at work, and the relationships they have with people at work, and it's incredibly compelling. 

End tangent, back to this bad movie: 

But in this thin fantasy, your job involves vaguely doing office work for an attractive and obviously about-to-to-sexually-harass-you older man. (No sense of the long hours of work that actual people in the publishing industry have to work.) You move papers around a desk, because the person who created you has no idea of what this sort of work is, or how someone might actually care about it or be engaged by it. Your paramour doesn't want you to have a job so he can control your economic independence. Your paramour buys the company you work for. 

That scary work situation? The sexually harassive boss? Don't worry, you'll barely have to deal with it, because your paramour will get him fired.  Somehow, you will just fall into the position of senior editor to replace him, because, gosh, no one else knows what to do with the empty slot, or with your untrained unqualified ass, for that matter. (Never mind that under these absurd rules of "well someone has to take this job lol" the black woman in your office was there for longer and has more work experience.) How terrible fiction sadly attempts to address the topic of work: newbie sits at the meeting with the big guys and makes a startlingly brilliant observation that NO ONE has ever had before. You mean we should publish the big sellers AND take a chance on new authors?? MIND BLOWN!  The other way bad fiction deals with work, specifically people who are supposed to be billionaires: they sit in fancy offices and they have very attractive female receptionists. You might get some jargon thrown at you if the author spent a few minutes on Wikipedia looking up "hedge fund." 

Work is there, humming in the background. There when you need a B plot. Your biggest problems will instead be relationship problems, which we all know are more interesting than all other problems in life. (This is not to say that relationship problems are not interesting, but that I would prefer to see a more holistic view of a human being.) 

You know what I would wish someone would write? A literary novel like The Office only not a comedy, a really character driven saga that follows however many unrelated people working in an office and how they change over time. Can someone do that--? Thanks. 

Is unplugging selfish?

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I try to pick something once a month to work on--either something about myself, or my environment, to try to make my life a little better. For January I worked on making my apartment look more like an adult lives there (getting rid of my college-era mismatched dinnerware, a minor renovation project in my bathroom, buying glasses instead of drinking out of cleaned out Classico tomato sauce jars. Pictures of the "renovation" are forthcoming! 

At the end of January I decided that my thing for February was to unplug more. I have a news addition which is pretty unfortunately: I can't not read the news because I need to be very well informed for work. On the other hand, I consume way more of it than I need to, in addition to "news" peripherals, like thinkpieces, and thinkpieces about thinkpieces. And tweets. And angry Facebook posts. 

I decided to take all social media off my phone--I still have the accounts, just no access on my phone. I'm also trying to cut down on how often I check the news when I'm at home. The first think I noticed, even within a day, is how often I just idly reach for my phone for something to flip through. Why? What's the point? All the major things that are going on in the world are going to go the way they're going regardless of whether or not you are obsessively reading about it or feeling anxious about it. This doesn't mean choosing to be ignorant: I'm still very well politically informed, and I still do what political actions I can and engage in long convos about stuff. But do you really need to know something right away? Do you really need to read a second, third, fourth article about whatever rage-inducing thing happened? 

And social media. Yeah, I liked keeping in touch with my friends. But right now a huge percentage of social media is people being enraged about something that I am more or less impotent to do anything about right now. (I did, incidentally, decide in January that every time I heard something that enraged me rather than posting about it on social media, I would just send some money to help with whatever issue.) And as someone who reads a lot of actual news, the amount of dubious information passed along on Twitter is more than disturbing. Just because someone says something doesn't mean it's true. Even if you want it to be. 

I guess we'll see how it went at the end of the month. There's a line somewhere between actively choosing to be ignorant about the world, and giving yourself an ulcer--I don't think it's a fine line that's hard to find. You just have to commit to it. 

Review: The Disaster Artist

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Every now and then you're at a movie and you can just feel the joy of the audience in the air. This was one of these movies. This movie currently has a 95% on Rotten Tomatoes--beaten out only be Coco, which apparently makes people openly weep in their seats (I've been meaning to get to that one this week.) 

This was a movie that was clearly made by fans, for fans. The Disaster Artist is fiction, based on a nonfiction book, about the making of a movie called The Room. The Room, if you haven't seen it, is quite possibly the worst movie every made. It was written, directed, produced, and stars this guy Tommy Wiseau, who then featured a huge picture of his face on the movie poster. The Room is badly written with a hackneyed plot that doesn't really make sense, badly acted, awkward, bizarre, unintentionally funny--but strangely, has a high production value. It presumably was intended to be serious, but then turned into a cult classic. DC is one of several cities that has midnight showings where people interact with the screen ala Rocky Horror. You drink, you throw spoons, it's good fun because it's so ridiculous, especially after a few cocktails. 

The Disaster Artist tells the story of how the film was made, starting with how Greg Sestero, a hopeful actor, meets Tommy in acting class. Tommy has long black hair, a clearly eastern European accent that his claims is from New Orleans, and massive amounts of money with mysterious origins. Greg gloms on to Tommy's relentless pursuit of an acting career despite not having any talent, and the two agree to make a movie. 

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Ultimately, the film is about the friendship between a relatively normal guy trying to make it in the acting world (Greg), and a bizarre, emotionally needy, possibly borderline possessive friend (Tommy). There is real emotional content in the movie--about friendships, about how hard it is to make it as an artist, about what happens when your friends pass you by--but really, it also explains how this incredibly weird movie got made and it's just so funny. It's probably funny even if you haven't seen The Room, but my theater in particular (this was a limited release screening in DC) was filled with people who clearly had seen it and could quote from it. 

The film has tons of throwbacks (stay for the clips at the end!) and a surprising number of celebrity cameos. James Franco is amazing and needs to win all kinds of awards. He embodies this person in total--the weird unplaceable accent, mannerisms, even physically (I can't tell if Franco was squinting one eye for the entire movie, or if maybe they injected him with something, but in either case, damn.). After a rough weekend, this movie was just pure joy. 

Review of Justice League: "It's not that bad."

The couple next to me in the theater said this just as the credits began to roll, and I agreed. 

If you walk in with the expectations of seeing a mediocre big budget movie where not a lot of care went into planning it, you'll be fine. The movie had so many things working against it that I almost feel sorry for it. It's not the movie's fault it has to live up to these enormous expectations set years ago when people read the Justice League comic books. Related to this, one of the issues I continue to have with superhero movies is that sometimes things just don't translate well from the pages of a comic book to the big screen. (eg, Apocalypse in X:Men Apocalypse was ridiculous in every way, but mostly in the way he looked).  I don't know how they could have rendered parademons in a way that didn't look stupid. We're told the end of the world is coming and it's in the form of mechanical demon fairies? Um, okay. The Big Bad--Steppenwolf-- is rendered entirely in CGI. And not good CGI, but the distracting kind. Probably a better decision that having a person with tons of prosthetics on their face, but maybe they could have went another direction. In contrast, Hela in Thor has full blown antlers but somehow pulls it off. 

Elsewhere I saw a reviewer say that the movie seemed tonally off and I agree. Barry Allen (the Flash) is mainly there for comic relief.  There were one-liners that took away from what should have been a darker tone for a movie which is about the destruction of the world after its protector has been killed, plunging the world into darkness. Sidebar: actions/adventure movies in the past ten years have grown consistently bigger so that every single movie is about saving the entire world. It starts to be meaningless as an individual act if that's always the scale. Often because it's missing that component of heart: when the stakes are "save the person you love" we get it, maybe even the city you love, but saving the world over and over, especially when we know that of course it will be saved, then threatened in the sequel, starts to feel meaningless.  

Everyone got some time to shine here, but Aquaman and Cyborg felt somewhat incomplete. The former barely had any backstory and the actual concept of Aquaman is so ridiculous that I don't know how it can be sustained for more than 5 minutes. (Fundamentally Jason Momoa serves as a strong guy who can fight with a trident, rather than having any specific power related to the fighting). Cyborg's back story is jammed in--we don't even see how he dies, and YES there is a scene where he says Bu-Yah.

I've never been a Batman fan and Ben Affleck plays him sort of passively. Occasionally, it seemed like the movie was trying to tap into the current zeitgeist of "we're all going to die and there is so much inequality in the world" . . . except that doesn't quite work when one of your characters is Bruce Wayne. His superpower is being a rich white guy, which maybe would have been a funny joke 5 or 10 years ago, but not right now when Congress is voting to raise everyone's taxes but Bruce Wayne's. He also highlights the same problem I have with the Avengers: heroes that are grossly uneven in their powers. Diana is a god right? So, can she die? Does she ever actually get hurt? Wouldn't picking up a nuclear weapon and flying into the bad guy be more effective than a sword if you can't really get hurt? If you think hard enough Barry Allen is a person who could be nearly unkillable. Anything that could kill him would never get to touch him if he would always be faster. (almost)

TOTAL SPOILERS FOLLOW: 

Superman's death doesn't have any real meaning. One because we know he's going to come back, and two because Batman V Superman was so terrible. I wish they had done that moment better.  I remember when the comic book came out with Superman dying when I was a kid and it was a huge deal and there were segments on the news about it. Death in fiction is always handled so briefly that it never has the depth and sharpness that it does in real life. And it certainly doesn't when we know they're going to come back. 

BUT: what made this movie totally worth it for me is the five minute segment when Superman comes back and for 5 minutes, evil and shirtless, kicks the shit out of the entire Justice League.  So satisfying to finally have it acknowledged that Batman is in no way shape or form capable of taking Superman down. Particularly satisfying: Barry Allen tries to get the better of him in his everyone-else-is-in-slo-mo and Henry Cavill turns his head at normal speed and smiles at him evilly. It's unfortunate that this movie was mediocre, Batman V Superman was terrible, and most people didn't seem to like Man of Steel: I like Cavill as Superman. I do hope we get more evil Superman though. (It was also fun back when Christopher Reeve did it). 

Preview corner

Pitch Perfect 3: not sure what this is doing at this movie. I do love a cappella though. Not that I would pay to see this in theaters. 

Star Wars Episode Whatever: apparently I'm the only regular moviegoer that doesn't go ape over these movies. I'll go see it, but I'm not more excited than I am for any other movie. I wish the preview had actually gotten to some of the plot. 

Roman J. Israel, Esquire: A Denzel Washingtion vehicle that shows the entire plot in the preview, which I hate. 

A (Writing) Year in Review

Someone once pointed out to me that I never take any time to celebrate my accomplishments because I am always anxiously, frenetically focused on the next thing I'm supposed to accomplish. The end of 2016 and first half of 2017 were pretty bad for me-- I was sad and didn't quite realize it, and I worried that my obsessively reading the news or working was going to cut into my ability to be creative. I don't think that turns out to be the case when I look back at what I did this year. 

In 2017 I queried two different novels, both of which continue to get requests. Regardless of what happens with them, I still love them both and they're both an accomplishment I'm proud of. 

Although I wrote a sci-fi novel last year, in 2017 I started writing my first sci-fi / speculative fiction short stories. (er.. novellas/ novelettes). Terrorcry is sci-fi noir I wrote as part of the Jenny McKean Moore fiction workshop at GW. Shortly after I finished Guava Summer which I can't really say is a sequel, but has the same characters and gets into some themes about totalitarianism. When I was at Breadloaf I attended a seminar on "Tell, Don't Show" which was SO UP MY ALLEY. I was tired of the parroting of "Show don't tell" in workshops, because sometimes telling is awesome. I became obsessed with the idea of having an entire story that was all telling, no showing. (to be fair I think the line between the two is fuzzy). I wrote Even the Precession of Earth Must Come to an End, which is all telling and takes place over about 7.5 billion years. Then one day I went to brunch and left a little drunk, wanting an ice cream sandwich. I went to this place that has good ice cream sandwiches but when I got to the counter she said they were all out. For some reason I can't explain, this is exactly the sort of thing that would embarrass me, so I ordered a cappuccino which I didn't really want. I don't drink caffeine that often (maybe once a week) because it makes me batshit, and because I don't drink it that often, it has an even stronger effect on me. So then I was pretty drunk AND really wired, and came home and wrote an entire story just based off the title which popped in my head, I Saw Goody McDerry With the Devil. 

Another awesome thing that happened? I went to VONA this summer, a writing conference for minorities. My class (genre fiction) was all girls AND THEY WERE ALL AWESOME. I had so much fun getting to know them and had so many conversations at that conference that I haven't had anywhere else. Black poets continue to blow my mind. I ate an entire Philly cheesesteak myself. I had some beers. We talked about how we were or weren't addressing race in our works and I hadn't really thought about it before. We danced really late into the night. Fun was had. 

A story that was accepted last year, The Derecho, got published. It's about a catfish catfishing a catfish, and is part of a growing pile of stories I've written that take place in DC. In other DC news, through contacts I made at various conferences, I started to meet other writers and go to readings in the area. I knew there were writers here, but for some reason hadn't tried connecting with them before. 

On the submission front, I started sending out my speculative stories, and judging from the response I'm getting from them, I'm confident they will be getting picked up soon. I wasn't sure if being a novelist (published, anyway) was necessarily in my future, but when I got back from VONA it occurred to me that I had enough short stories to form a collection. So I did that! And I like it! I'm starting to send it places! For some reason I never thought of putting them together before, but now that I have, it's interesting to see that 1) I have enough for an entire book and 2) how they fit with each other. Some of the themes are the same, even if the content is radically different. Some fit snugly into the standard literary realist tradition and some involve people getting their detached heads reattached. 

Then in the fall came the equivalent of an unplanned pregnancy. I must have been thinking of the Goody McDerry story. Or this thriller I had written a third of but put down for a while.  It took place in college and I continue to love books that take place in college.  My friend from Boston was visiting and we were walking home and I said, "What if there was like an entire school filled with psychopaths?"  I suddenly wrote a novel. It just appeared, like an unplanned pregnancy, and forced itself out with a really short gestation period. I write really quickly once I have plot figured out. The characters and voice lent themselves to a plot that seemed to write itself. I have to say, it was my first time using Scrivener, which I was initially really skeptical of. (Kind of like how I was super skeptical of anyone who bakes but doesn't mix things by hand. Only last week I bought my first Kitchen Aid). I liked the ability to move scenes around without it being a pain in the ass. The visual representation of scenes and chapters made plotting easier. I'll try it for my next book and see how I feel. The program isn't that expensive, and I definitely don't use all the bells and whistles, but I guess I would say it's worth the cost. 

So now that I think about it, I did get a lot accomplished this year. I plan on chilling out for the next two months. Doing some baking, some editing, maybe beta reading for someone. Relaxing, I guess. 

Review: The Dinner

TLDR: Don't bother. 

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This was a surprisingly bad execution of Herman Koch's novel The Dinner, which I read a few years ago. I enjoyed the book--this even despite it employing one of my least favorite tactics. The novel centers around two couples going to a fancy dinner--a former teacher and his wife, and a promising candidate for governor and his wife. I liked how the book rolled into the scene, quickly making you think that the main conflict is between Paul (the teacher, who is antagonistic towards his brother), and Stan (the politician). As the seemingly unendless dinner unfolds, you find out what the real conflict is: that the couples' children have done something really awful, and now they must figure out what to do about it. There are some reversals here which are interesting. 

Both the portrayal of the characters and the dinner itself are very good. Sad when you have a really competent cast and then give them crappy material. Steve Coogan plays Paul so effectively that I don't think I've ever wanted to scream "Shut the fuck up and let him talk!" at a TV more. He is the obnoxious relative that just can't keep his mouth shut when he has some political opinion, or wants to distract the argument from the point someone else is trying to make. You start out almost being sympathetic with him--a more humble man that thinks going to an ostentatious tasting menu (and then asking for a better table) is what's wrong with society. But then he spirals down from there. The other three actors are also good, Richard Gere in particular. 

The dinner itself is appropriately portrayed in a way that is infuriating. Occasionally you glimpse these super-bougie dishes and have to sit through the long explanations of the dishes. (This reminded me of the incredibly tense scene at the Mexican restaurant toward the end of Breaking Bad--where threats abound until an oblivious waiter pops in to offer guac.). You kind of want to pull your hair out because no one attending the dinner can actually sit in their goddamned seat for more than two minutes: someone is always taking a phone call, storming off, or just wandering away. (I hope they left a very, very large tip.) The dialogue is also good-- people talk over each other, things are alluded to but not explained for the sake of the reader. 

But the movie definitely falls flat when it comes to the fundamental skeleton of the story. For one, it's too long and there are parts where you wonder "why is this here?" There are also parts where I wondered "why did they cut this out from the book?" (SPOILER: mainly, they definitely made it seem like Paul had some mental health issues, but did not explicitly draw the connection to his son via the test results. Also the movie version of his wife says that his medication makes him "numb" and that she prefers the real him, but in the book this definitely comes off as more sinister/ fucked up, and less like "maybe we should try a different prescription. Also the ending, ie, the book had one). There's some scenes about the Civil War that were so long that I fast forwarded. 

Then the end, where it falls flat. It literally ended in such a place that when the credits started rolling I went back and rewound, thinking there was something wrong with my TV. A movie with no ending is worse than a movie with a bad ending because at least you feel like you got to a destination. 

Dear creepy guy at the gym

1. I'm wearing headphones. 

2. Above-mentioned headphones are an indication I am not interested in talking. 

3. I am half your age. 

4. Why do you always seem to be in the vicinity? 

5. Does my completely flat, businesslike attitude focused entirely on gym equipment not convey a lack of interest? 

6. Do you realize my trainer has moved me across the gym floor because your creeping was so obvious to everyone but you? 

7. You're staring at me when I do squats and deadlifts which is the most awkward thing ever. 

8. I'm going to do them anyway, because that's what I came here for. 

9. Stop trying to catch my eye. I'm legitimately going to get a towel, and it's not an elaborate excuse to be near you, and actually if you were paying attention you could tell that I took a long convoluted way to not be in your vicinity on the way to the towels. 

10. I know if I were a better person spiritually I would have some compassion for you, but that particular chakra is closed for business at the moment. 

A petty list of unrealistic things that frequently appear in fiction that drive me crazy...

1. Incredibly intelligent characters who lack basic reasoning skills.
There's a draw to having whip-smart characters, but readers get pissed when the aforementioned brilliant characters miss obvious clues or repeatedly make dumb decisions for no other reason than serving the plot.  This does raise two interesting questions: 1) How do you write a character who might be smarter than you? [hint: you need to have a mystery that is actually difficult to solve and have your smart character navigate through it reasonably] 2) Why aren't there more books about people who aren't whip smart?  How about Tim Riggins from Friday Night Lights solving mysteries? (Billy can help... when he's not getting in the way.  Twist: Jason Street turns out to be the killer.) I am, by the way, writing a whole other post about the overpopulation of brilliant people in contemporary fiction.  More on that later..

2. Buff characters who never work out. 
Buff doesn't grow on trees.  You have to schedule a lot of your life around the gym. You book hotels based on whether or not they have a gym.  Active people feel uncomfortable if they go several days without being active.  Corollary to this: thin women who never seem to work out and eat a lot of junk food because they just happen to have a high metabolism--I think this is a feeble attempt at being girlpower by not wanting to depict a woman who watches what she eats. But if you want to be progressive by not having women want to change their bodies, you don't get to also default to always having thin characters. There are people of all sizes who go to the gym, ones that don't, people who watch what they eat for whatever reason, people who don't. Real women in America, or at least a lot of them, talk and think about food in ways that are deeply fucked up.  Some of these women are strong, intelligent, complicated, and interesting.  There's nothing wrong with showing that.

3.  Scholarships don't exist.
Non-rich teen has no money and/or screws up their chances for a single scholarship by winning the spelling bee/ sheep-shearing contest/ ironic beauty pageant, so now they can't go to college!!!!  Their life is ruined!  Actually, it's called a FAFSA.  You can go to college, but welcome to the world of student debt we all live in.

4. Character is a CEO / high-powered attorney / neurosurgeon but never seems to be working.
This shit takes time.  And often times, lots of schooling.  Son who inherits company from his father and is a lazy ne'er-do-well--? More believable that Mr. Career awesome who never works.  

5.  Characters don't use cell phones the way they are actually used.
That is to say, to look up just about anything.  Realistically, the introduction of cell phones and the internet in general is a massive game changer in any mystery, horror, or danger type situation.  This is related to why I've been disappointed in horror movies in the past 15 or so years: the villains got smarter but the protagonists didn't become more clever. 

6.  Lame excuses for not telling the authorities/ cops/ parents when a dead body is discovered. 
Please provide a reasonable explanation as to why these people wouldn't just tell their parents or call the cops.  Remember HBO's The Night Of? If that ever happens to you, don't run away from the dead body, then go back, break in, get your keys, and then try to keep it a secret. He probably should have just stayed exactly where he was, touched nothing, and called the cops.* Lots of people don't actually trust the police, for legit reasons, but too often the excuse is, "but we can't call the cops because we can't!"  (*On second thought, if your name is Riz Ahmed, maybe call your dad and a lawyer first, and I guess I would say when a chick wants to play that knife-hand game, it is time to say you're going to the bathroom and run far, far away).

7.  Newbies handling guns with amazing accuracy and no fatigue, often holding them with one hand sideways.  Guns are heavy and hard to handle and even people who are highly trained professionals miss their targets. 

8. Cities devoid of minorities. Actually, this isn't petty but serious.  I can't stand when I read a book that takes place in a city I've spent a considerable amount of time in and the actual racial makeup of the city is depicted as wildly off.  California has a ton of Asians.  The real Beverly Hills High, from Beverly Hills 90210, has a large population of Persians, as does Los Angeles in general.  New York City is not just filled with 20-30-something aspiring hipster writers having epiphanies. If you want to write about an all white city, pick one that actually demographically looks that way.  Writing and talking about race is super awkward; at least we are at the point in time that we are starting to have the conversation. I admit I'm cautious about bringing up race in my own writing, both because I'm afraid of getting something wrong, but also because even being explicit about it sometimes makes people uncomfortable. I'm working on this. 

8. People die for literary sweeps week.  Remember on TV when you knew good shit was going to go down because it was sweeps week?  Similar to this, I hate how death is always a plot device in books.  Someone only dies if it serves some dramatic purpose.  In reality, sometimes death is a random wrench thrown into a machine that was originally headed in a different direction. I think this would be a really awesome way to get rid of Frank Underwood in House of Cards.  All this intrigue is going on where the journalists are closing in on all the shady stuff he has done. Chess pieces are being moved. Then, in the middle of everything, he up and has a heart attack, or his fucking rowing machine breaks, sending the fan part directly into his face and impaling his brain. Claire becomes president. All Claire all the time!!!

9. "As you know Bob" dialogue in general. NCIS is a perfect example of this. One biologist explaining to another what DNA is. One thing I loved about The Wire: there was absolutely no hand holding. 

10. No one ever has their period. Or almost never. And it's too often used for comedy rather than this thing that is there for a huge segment of the population. 

Review of Thor: Ragnarok

Worth seeing. This is what big budget movies like this are supposed to be: fun. 

Cate Blanchette steals every scene she's in--it's worth seeing just for her. The movie is self-aware and makes fun of the franchise. Also makes Thor less boring (let's face it he's one of the more boring Avengers.) Chris Hemsworth is legitimately funny and I don't think he had a chance to show it off in the previous movies. (also, it was recently brought to my attention that there is more than one Hemsworth. I thought they were all the same person and just dyed their hair sometimes. Mind blown. I do not read US Weekly unless I'm lying on a beach, which hasn't been for a year or more.) 

I'm a little skeptical about what's over the horizon for Marvel. One of my issues with the Avengers, however fun it is, is that it's a hodge podge of people (or beings) with grossly different levels of power. So when they're fighting I'm not sure what meaning there is. Like if a dinosaur steps on Thor, and he's a god, does he actually get hurt? (Clearly he CAN get hurt.. but what exactly does it take if he's a god? Does Odin actually die, or is a more like an Elves leaving Middle Earth by sailboat kind of thing?) 

Yet again had to sit through the trailer for Justice League. I'll show up just for Jason Momoa and Wonderwoman, but I'm super skeptical after the cringefest that was Batman V Superman. (Oh Henry Cavill, can someone please give you some good material??) They also showed the trailer for The Last Jedi, which I have never seen before. I guess Oscar season is rolling up, which means I will be hitting the independent theater a lot more. 

Review of Alias Grace

We're living in an awesome time where both Margaret Atwood and Stephen King--two of my favorite writers--are getting tons of love. 

I completely forgot that Netflix was turning Alias Grace into a series until it popped up on my TV. I originally read the book in 2002 and apparently I devoured it so quickly that I forgot the ending. One thing I love about Margaret Atwood is how lovely her prose is--she can take even outlandish premises and deliver them seriously. But the thing I love more is that she is the antithesis of what I'm currently disliking in literary fiction: a hyper focus on delivering a true representation of "realistic" life. (If I have to read another book about an upper middle class marriage falling apart with no larger commentary about the world, I may die on the spot). Writers like Atwood and King seem to have no bounds to what their imagination can dredge up. 

The series is incredibly well-filmed and acted. Grace is rendered with enough depth that she keeps you wondering. Like the Handmaid's Tale, you can't walk away from this series without thinking about all the constraints women are forced to live under. Creepy bosses, creepy neighbor boys, the complicit woman who sabotages you because the creepy boss you're not even interested in wants you. The bed as a place of violence. The ending of this killed me. I mean, of course it wasn't going to have a happy ending--I should have known better. (I went to go see Thor: Ragnarok after, mainly because I heard it was funny.) 

Also, slight aside: books often translate better to series than they do to movies. They have more room to stretch out and give people some backstory.