April Media Roundup

It's been a big TV watching month for some reason. I tend to float to one streaming service or another and ignore the others, but I've been as ADHD in my TV watching as I am in my daily life. In short, I've been all over the place, so I'll be naming a few favorites. 

Before we jump into those, though, C. Lee McKenzie contacted a few of us about sending our writing wishes for the year, and she collected these on the Insecure Writers Support Group blog: Author Wishes for 2022.

Here are some media I've enjoyed in the last month or so:

Books

Star Mother, by Charlie N. Holmberg

Star Mother, by Charlie N. Holmberg

This one was sent to me by a friend. It wasn't the sort of book I'd usually read, but I enjoyed it quite a bit. This is pure fantasy. A woman from a village volunteers when the Sun calls for a new Star Mother, knowing it means her death, but will bring honor to her family. But something strange happens. She delivers the star...and lives. Though the Sun is willing to keep her in his palace, she opts to go back home, only to find that things are not the way she left them.

This one had the tension of warring celestial gods, romance, the fickleness of humanity, and two people brought together to flee those hunting them. Creative and spellbinding.

The Virgin Suicides, by Jeffrey Eugenides

The Virgin Suicides, by Jeffrey Eugenides

I saw the movie when it came out, and remember it being well done, but the book itself was gorgeously written, though flawed. It's told from the POV of several boys in a neighborhood, who find themselves fascinated by a household with five teenage girls. Ultimately, each girl will commit suicide. This isn't a secret. The entirety of the book is about the lead up to it and the boys (only one is the narrator) examining the why and what led to this choice.

On the one hand, the reader can't help but also be fascinated along with the boys. On the other, there's a taint of misogyny to the whole thing. What the boys are often thinking about, even after the tragedy, is how much they wanted in the girls' pants and what a shame it is to have wasted five beautiful girls. At the same time, the narrator never addresses the shallowness of the boys (or the men, when they grow up). If this were a true look back, a true attempt to analyze what went wrong, they should have also discovered it was their complete lack of viewing the humanity of the sisters instead of what they could possibly offer the boys in terms of bubble gum kisses and soft warmth. 

These girls are victims of everyone. Of the boys who watched through their windows with an erroneous sense of curiosity, but a lack of depth. Of their parents. Of their teachers. Of the people in the community. Of every single person who knew things were weird in that house and never did anything to help those girls. And I do feel the book intends to point this out. Above all else, these girls were failed. And the reader sees just how easily that can happen, how easily children's lives can go wrong when the "village" looks the other way. 

Each girl has a surface personality different from the others and beautifully rendered, which is why it took me a while to realize how shallow the narrative was. Of course these boys can't know the inner workings of the girls, so we see what they see when the girls are at school, or peering out a window, or running into the front yard to surround their ill Dutch elm and save it from the folks who've come to chop it down. We only get a slight taste of each character, because of the way the story is told. It's effective. Intriguing. And the city of Detroit is a character in itself.

Heartbreaking. Gorgeous. Whimsical. Problematic.

Crime & Passion: Three Short Stories, by Francelia Belton

This isn't novel length. It's a collection of three short stories (just as it says on the cover). They're all crime stories, not mysteries. In each, a woman deals with a crime, whether as the victim or the perpetrator. Each plot is interesting and well written, drawing the reader in to see what will happen. 

Movies

The Bubble, Netflix

The Bubble

This movie was exactly what I needed. Absolutely ridiculous. Hysterical. I knew from the cast that I had to watch it. It's rather pandemic-meta. The cast is brought back for a sequel to a cheesy creature feature, but the pandemic is on, which means they must deal with quarantine, then remain at this hotel in a "bubble" of safety so no one will bring the virus in and expose everyone else. But what happens when you trap an eclectic group of narcissists together and make them quarantine two weeks at a time in their rooms? The quarantine montages are hilarious. It gets even better when a lunatic is brought in to do security. Definitely worth a watch if for no other reason than to shut your brain off.

Siege, Shudder

Siege

This is a 1983 film, set during a police protest in Halifax, Nova Scotia. In fact, it contains real footage from the real police protest that occurred there in 1981! It's the kind of gritty, gun-filled movie you'd expect from the early 80s but what caught my attention was how severely it hit home in this day and age. Police are picketing, so a group of people intending to take over the power vacuum (calling themselves the New World Order, if I remember correctly), decide to use their newfound power to harass the folks in a gay bar. But it goes too far (of course it does) (Trigger warning for hate crimes), and the sole survivor of the slaughter escapes to a nearby apartment complex, where the residents hide him and prepare to fight back. 

What originally drew me was the ridiculous image (above). I thought it was going to be a comedic take on a siege in the city that would involve a bunch of yuppies. The photo is misleading, though, and the topics are much deeper than I imagined, even if they're presented in the wrapping of an 80s horror film. What happens if there are no police? Who will fill the power vacuum? Who will suffer the most? Who will stand up against those who abuse their power? In this case, it's on a very small scale, but I feel like it's an interesting commentary on some things that effect both political sides. And that's all I'll say about that.

Oh, and there was no one I would have classified as a yuppie in the cast of characters, so I'm still confused by the image.

Low budget and shot in 14 days in the apartment complex some of the filmmakers actually lived in, it's an interesting film. And I am, after all a child of the 80s and the gritty films of the day (cough, Dirty Harry, cough, Death Wish, cough), so I can appreciate the style.

TV Shows

House, Peacock

House

Yes, that's right. It took me this long to watch a show that originated in 2004. Everybody kept telling me how much I'd love it, so they annoyed me right away from it. Now that no one is pressuring me (hear that, Doctor Who fans??), I've finally given it a chance, and I quite enjoy it. Though as a walking, talking medical mystery myself, the whole of them repeatedly getting the diagnosis wrong and mistreating the patient before they finally arrive at the real issue is pretty stressful. The rest of the characters make up for House being such a jerk. It's like a crime drama, but medical instead. I wonder if I paid enough attention whether it would always be the third diagnosis that's correct, just like the crime show formula that shows us the third person accused is the real villain?

Killing It, Peacock

Killing It

We're not far in yet, as a new episode is released weekly, but this show's great for some dark humor. Unable to get a loan, the MC needs $20,000 to start his dream business. An ill-fated ride in an Uber shows him a way to make a quick buck AND possibly win a contest that will bring him...you guessed it...$20,000. Hunting pythons in the Florida swamps is good money, but it's not without its challenges.

The Glades, Hulu

The Glades

Yep, another old one. I just completely missed this one. Probably because I don't have cable, and haven't since the first season of "Fringe" came out. That's all I know. Another crime show, yes, but the main character is interesting and the crimes are different, so I'm in.

The Thing About Pam, Hulu

The Thing About Pam

Based on a true crime, this is done in such a fun way. A Dateline anchor is doing the voiceover, which makes it a tad different. But the real standout here is Renee Zellweger. She is amazing in the role of Pam, a woman who *may* have murdered her friend and manipulated everyone around her into thinking it was her friend's husband. She manages to manipulate the police and the murdered friend's family so everyone is on her side. Even the DA and the judge, who are besties in the small town. Zellweger is so amazing that I had to go look up the real crime, because I was so angry. I can't put into words how excellent her acting is in this role. The character is absolutely loathsome, a complete psychopath who pulls no punches and has no compunctions about hurting anyone in her path, even if it's just emotionally. I highly, highly recommend this one. Zellweger had better get nominated for an award. Entertaining, well-paced, emotional, and a stellar cast.

What are you watching or reading? Anything in the past month that you'd recommend? 

May you find your Muse.

Sooo Many Recommendations!

One thing I've learned the last few years is that reading widely and actively seeking out diverse voices is a wonderful way to widen my horizons and find new authors to enjoy. Every little once in a while, I post on Facebook asking for recommendations, and people unfailingly come through with a wealth of suggestions.

Yesterday, I posted asking for recommendations of pulp, noir, and magical realism. I was going to use the post as a reference going forward, but realized that it would be nice to share the authors and books here so others could discover them, as well. Plus, this way I have a consistent place to come back to when I'm looking for which book to pick up next!

One thing that was mentioned when I talked about wanting to learn to write in these genres was to be careful of the cultural appropriation of taking on magical realism. That it has been used in South America in reaction to colonialism. I wanted to look more into that, but a rudimentary search showed it to be an even bigger and more complicated topic, and one that traces colonialism back further in time. It's a topic I definitely can't cover at the last minute. If you're curious, I encourage you to look into it.

Here's a list of the recommendations I received, so far:

The Corpse and the Girl From Miami - Jim Urbancik (N, P)
Jim Thompson (The Killer Inside Me was specifically mentioned) (N,P) x4
Chester Himes (N, P)
Raymond Chandler (N) x2
Comics (Detective, Martian Manhunter, The Question, Plasticman) (N)
Dennis Lehane (Mystic River, Gone Baby Gone, Shutter Island) (N-Neo-Noir)
Will Christopher Baer (NN)
Craig Clevenger (NN)
The Fighter - Craig Davidson (NN)
The Wind-Up Bird Chronicle - Haruki Murakami (MR) Murakami x2
Caitlin Kittredge - Dreaming Darkly (MR)
Kerri Manicalco's YA Historical series (MR)
Joe R. Lansdale (The Hap and Leonard books were specifically mentioned) (N, P)
Gabriel Garcia Marquez (One Hundred Years of Solitude was specifically mentioned) (MR) x4
David Goodis (N, P)
Charles Willeford (Someone specifically mentioned The Burnt Orange Heresy) (N) x2
Pulp According to David Goodis - Prof. Jay A. Gertzman (good if you want to analyze pulp)
Year One: Chronicles of the One (MR)
Don't Breathe a Word - Jennifer McMahon (MR)
Megan Abbott (Bury Me Deep, Dare Me, The Fever were recommended, specifically) (N-modern) x3
Night Circus - Erin Morgenstern (MR)
Jon Bassoff (N-modern)
Alan Guthrie (N-modern)
Les Edgerton (N-modern)
Heath Lowrance (N-modern)
Woman Warrior - Maxine Hong Kingston (MR)
Bruce Taylor (MR)
Franz Kafka (MR) x2
The Eye of the Heart (anthology) (MR)
Barbara Howes (MR)
Margin: Exploring Modern Magical Realism (Tamara Sellman)
Alice Hoffman (MR) x2
Borges (MR)
Cheever (MR)
Ross MacDonald (N)
James Ellroy (LA Confidential was specifically mentioned) (N) x2
The Name of the Game is Death - Dan Marlowe (N)
Black Wings Has My Angel - Elliot Chaze (N)
Cornell Woolrich - (N)
Nightmare Alley - William Lindsay Gresham (N)
James M. Cain (Mildred Pierce, Double Indemnity, The Postman Always Rings Twice x2) (N) x2
Shella - Andrew Vachss (N) x2
Mickey Spillane (N)
Ricky Ginsburg (MR)
The Son - Jo Nesbo (N)
The Old Drift - Namwali Serpell (MR)
Imagica - Clive Barker (?)
Juan Rulfo (MR)
Italo Calvino (MR)
Yasunari (MR)
Kawabata (MR)
Kemzaburo Oe (MR)
Banana Yoshimoto (MR) x2
The Friends of Eddie Coyle - George V. Higgins (N)
The Long and Faraway Gone - Lou Berney (N)
Fast One - Paul Cain (N)
Accelerate Learning Techniques for a Budding Sociopath - Evan Hundhausen (?)
Shoeless Joe (MR)
The Best American Noir of the Century
Otto Penzler (N)
The Black Lizard Big Book of Black Mask Stories (P)
Isabelle Allende (House of Spirits was specifically mentioned) (MR)
Clarice Lispector (MR)
Laura Esquivel (MR)
Toni Morrison (MR)
Ray Bradbury (MR) x2
Charles Beaumont (N)
William F. Nolan (N)
John Franklin Bardin (first three novels) (N)


Okay, wow, that was way longer than I thought it was. I'll be updating as the post continues to get responses, so they're all in one place. Since I didn't do this with any of the past lists, I'll post those in the future if they pop up as memories.

MEDIA CORNER

BOOKS

This week I finished The Elephant in the Room: One Fat Man's Quest to Get Smaller in a Growing America, by Tommy Tomlinson.

This is a candid examination of a man's struggle with his weight. He's a journalist, and the voice in this book makes it a pleasant read. He updates his weight over the course of a year, which is honest and helpful for others struggling with their weight. Ultimately, it's an inspirational story.

I also finished There's Someone Inside Your House, by Stephanie Perkins.

This was a YA, which I'd forgotten (I bought it probably two years ago, if not longer, on the recommendation of a friend who'd also recommended You.) I didn't really connect with the story until about halfway through, when the action and tension pick up. The first half felt boring and more focused on a burgeoning romance, but the second half brought the suspense. Which is funny, because we know who the killer is about halfway through the book. Everyone does. What we don't know is WHY they're killing kids in this small, rural town.

This was billed as unflinching, with some harsh deaths, but I felt that the deaths, though they were creative, were so quickly touched on, with no suspense drawn out, that I wasn't all that compelled by them. Again, not until about halfway through. Until I reached that halfway point, I wouldn't have recommended the book. But I read the last half over the course of two days, lugging the book around with me everywhere I went.

I actually liked the diverse cast of characters. I just didn't connect with them as early as I would have liked to, and I can't put my finger on why. When I think about it, they're not multi-dimensional right away. That came later. There were some cliches employed in terms of red herrings, characters, and implication of a large event in the character's life that ended up being disappointing in the scheme of things, etc. I wasn't sure who the killer was (and looking back, I don't think there are hints laid out about it, which means it wasn't effective), but I knew who it wasn't, and was irked at the finger pointing, because it felt too obvious. There was also head hopping. Though it never became confusing as to who was thinking what, it took me out of the book as a writer. Would it have bothered me if I wasn't? I have no idea. But it did.

CURRENTLY READING: The Devil in the White City, by Erik Larson.

MOVIES

If you have Shudder, there's a hysterical horror movie on there entitled Tammy and the Teenage T-Rex, (also billed as Tammy and the T-Rex), featuring young Denise Richards in her first starring role and young Paul Walker. This is pure, comedic ridiculousness. A teenage boy gets killed, and a mad scientist (the actor who played Bernie in Weekend at Bernie's) transplants his brain into an animatronic dinosaur, who then seeks out his girlfriend and the people responsible for his death. This is sci-fi horror. It reminded me of a non-scary Reanimator. It made me laugh and roll my eyes, but in the best way.

Also on Shudder, The Marshes was a creepy gore-fest. It's an Australian horror flick about three biologists who trek into the marshes to gather information, only to find a terrifying killer with supernatural powers. And rude, ignorant, hicks. It's funny to me to see that cliche appearing in movies created in other countries. This wasn't the best movie in the world, but it was tense and kept me interested.

Finally, my husband and I happened across a Chuck Norris movie I wasn't familiar with, called Silent Rage. It turned out to be a creepy, sci-fi thriller, which was unexpected. I grew up on Chuck Norris action flicks, and there's an element of that in this film, but I didn't remember anything like this. A trio of doctors perpetrate genetic experimentation on a man, who goes crazy and kills several people. The police shoot and kill him, but the doctors get him back and heal him. He goes on a silent killing spree, no longer able to speak, but making animalistic noises. The actor, Brian Libby, was excellent at being creepy. What he conveys through body movements, growls, and facial expressions is eerie and frightening. He was a large man who also happened to be oddly flexible. I enjoyed this both as a kickback to my childhood, watching Chuck Norris singlehandedly take out a bar full of bikers, and as a surprisingly freaky sci-fi thriller. Ron Silver, another old favorite, is also in the film.

TV SHOWS

For a feel good show, I've been watching AJ and the Queen. I'm enjoying seeing RuPaul in an acting role that feels true to him, yet stretches his acting ability. An aging drag queen ends up with a street smart, mouthy child tagging along on a trip around the south for a succession of drag shows. An ex-boyfriend of the drag queen has stolen his life savings, and now hunts him, because he turned the thief in to the police. There are several standout actors in this, but the one who has surprised me the most is Tia Carrere. I've never been a fan of hers, but her character is so out there and hysterical that I enjoy every moment she's onscreen. Available on Netflix.

For True Crime, I've been watching Nightmare Next Door about murders in small towns around America. It took me some time to get used to the narrator (maybe I expect them all to sound like the Forensic Files guy), but he got more serious, with fewer quips and lame one liners, after the first season. Available on Hulu.

PODCASTS

I don't think I've mentioned this yet. I've never been able to listen to podcasts, because I have trouble listening to someone speaking if I don't also have a visual, which makes podcasts and audio books something I don't typically imbibe in. However, I read a book put out by the two women who run this podcast, and decided to give it a try. Now I'm hooked. The way I've solved my lack of attention span is to take a bath most evenings and play Solitaire on my phone while listening to the podcast. It's called My Favorite Murder, and I listen to it free on Spotify. This is a comedy true crime podcast led by two women: Karen Kilgariff and Georgia Hardstark (sometimes jokingly referred to as KilHard or HardKil, which both work well for the subject matter.) Their fans are called murderinos, and consist of those of us who grew up fascinated by true crime (not awestruck by it, not fangirling over serial killers, but fascinated by the mentality behind it and seeking some explanation for the horrors perpetrated by these people) and freaking people out by wanting to talk about it. Their motto is "Stay sexy and don't get murdered."

No links today since this is a huge post already, but I'll see everyone on IWSG day!

Do you know much about the background of magical realism? Have any recommendations for these three genres? Read any of the recommended books or authors, and would you recommend them? Do you seek to read new and different genres outside what you're typically drawn to? Seen any of these shows or movies, or read the books? What about the podcast? Do you have a true crime podcast you'd recommend? What are you watching and reading this week?

May you find your Muse.

Top Ten Movie Countdown Blogfest

Today is Alex J. Cavanaugh's Top Ten Movie Countdown Blogfest, where we tell you our favorite movies in top ten format.

I'm struggling a bit, as I'm a movie-lover, so let's see what pops up. I imagine it would be entirely different tomorrow. I'm going to define my favorites as being those I can watch over and over, in order to simplify this for me, so these aren't necessarily the movies that made me think the most, for instance, or that had the best writing or literary qualities to them. No, these are the movies I go to when I need something to play to make me happy. And I'm not positive they're in the right order, but I had to suck it up and pick an order, so here you have it.

#10 - Tootsie

Tootsie was a 1982 film starring Dustin Hoffman as a struggling actor who finally takes on the ultimate part, dressing as a woman in order to land a role on a soap opera and get a paying gig. He finds himself falling for a fellow actress, all while forming a deep friendship with her as Tootsie. He acts himself into a corner and must figure out what to do to make everything right.

#9 - Footloose

I figure most people must know about this film, while Tootsie has probably been overlooked by many (though it may be the only movie on this list that is on AFI's Top 100, not sure). And, of course, I'm talking about the 1984 version starring Kevin Bacon, who I've loved ever since. A hurting town makes an unrealistic set of laws in the face of a desperate situation, and it takes an outsider to show them they can celebrate life, rather than grieving the loss of it. A message that holds through the ages. And the soundtrack bloody well rocked! I still keep the CD in my car for when I'm on a longer trek, stuck in traffic, or frustrated (I admit it, I'm a road rager). The title song gets my whole body moving, and instantly lifts my spirits. Bring it, crappy drivers!

#8 - Pretty Woman

I don't think I've ever adored either Richard Gere (oh crap, I just thought of another movie I should have on here...honorable mentions...) or Julia Roberts as much as I do in this movie. He may be a cold-hearted business man, but he's endearing in his own way. And she has a smile and upbeat attitude that can cheer up even the worst of days. Plus, I love her hair. Curly, red and unruly. What could be better? I wish her hair always looked like that. Also, I'd kill to wear that red dress to just one event. This movie shows that even when you're at your most down and out, good things can happen. Plus, it's quite a statement on humanity, and the good therein, despite the fact that we're seeing a teeny bit of the underbelly (though maybe an underplayed, glamorous version thereof). The hotel manager melts my heart, as does every person who chooses to be nice to Vivian instead of just judging her. And, of course, it's that princess being rescued by the prince romance that we've grown up on, and though I fight against that stereotype, I feel like Vivian would have made something of herself no matter what, and that she's saved him much more than he's saved her.

#7 - Dirty Dancing

Another movie where the soundtrack's as good as the film, itself. I seem to recall buying part I and II of the soundtrack as my Columbia House purchase back in the day...the stamps...you know what I'm talking about? My other purchases included Debbie Gibson, Tiffany, DJ Jazzy Jeff and the Fresh Prince, oh yeah. Moving on. Dirty Dancing is the flipside of Pretty Woman. Here, we have the privileged young woman and the poor young man who's basically prostituting himself out on the side just to make ends meet and to make the patrons happy. We see that there are levels of "good" in people. A father can teach his daughter to think of others and to love everyone, but when put to the test, he struggles with his daughter consorting with someone he's not okay with. Johnny's below Baby, and he's trouble, or that's what it looks like when one doesn't look too deep. But she can learn valuable lessons from a guy like him, as her sister learns tough lessons from the pure boy next door that their father respects, despite the fact that he's a piddly little scumbag. Team Johnny all the way, baby.

#6 - Ladyhawk

I admit it, many of these movies are 80's movies, and Ladyhawk is no different. I discovered Matthew Broderick in this film, not in Ferris Beuller's Day Off. He'll forever be a combination of Ferris and Mouse, the tiny thief who breaks out of the filthy prison, speaking to God the entire time, begging forgiveness and asking for help, even as he does wrong. Along comes Captain Navarre, sweeping the little Mouse into a dark situation, tainted by magic and religion. A curse, shape shifting, treachery, magic, and tortured romance make this a movie for many. My brothers love this movie as much as my sister and I do. There are battle scenes and close calls, and absolutely the most beautiful hawk and wolf. Evil can never win against true love.

#5 - Aliens/Tremors

Aliens is a fantastic movie. One of those that is better than the original. Alien, itself, was not a bad movie, but the horror ante was upped considerably, and we were rooting for Ripley even more in this follow-up. Newt is a kick of a kid, stronger than many of the adults ("Game over, man!"), and I so badly wanted Ripley and Hicks to get to hook-up in the third (no comment on the third). Heart-pounding action, freaky-gross aliens, tension, and they're in space! Isolation is always a kick-up for a horror film, and back in the day, it was even more so. Aliens broke into new frontiers and scared the living crap out of people.

But if you want a horror movie that's just a kick, Tremors is a great choice. Val and Earl are so fun, and the people of this tiny isolated town are a bunch of characters. Despite the fact that I don't think Reba McEntire can act, she's just as likable as Val and Earl. You've got the greedy shop keeper, the whiny prankster kid, the haggard mom, the geeky seismologist, the town handymen, the gun-wielding survivalist couple, and a few scattered others. Throw in a few giant subterranean worms, and you've got a fun night of movie watching! It's like Jaws in dirt.

# 4 - The Goonies/The Last Unicorn

I figured I'd clump two of the kids movies together. I think this is the last double shot I'll do. I can't promise anything, though. Who doesn't love The Goonies? It's the movie that taught us school wasn't the only place with cliques and separations, and that you could overcome the odds with a healthy sense of adventure and the determination to get it done. Plus, pirates! Who of us hasn't wished we'd find a treasure map that would take us to a wealth of gold and jewels (and, more importantly, adventure)? Some laughs, some scares, some thrills, some romance. And some young stars that went on to bigger and better things (Sean Astin, Corey Feldman, Josh Brolin, etc.).

The Last Unicorn was the second movie I owned for myself (Ladyhawk was the first). I adored Mia Farrow's soft voice and Schmendrick. It's such a tale of olden times, inherent magics and mythologies, and acceptance of what is, not just what we believe to be. It's the non-Santa version of Santa Claus, like Tinkerbell. Believe, and you make it so. I always long for a different ending, but it ends the way it should. ~watery sigh~

#3 - The Crow

Brandon Lee broke my heart when he died just shy of April Fool's. To the point that I was convinced it was some nasty April Fool's joke by the media. This film was darkly lush, sarcastic, and oddly optimistic, despite being about the dregs of humanity, and a town riddled with its own filth and violence. To have the opportunity to come back from the dead to see that your death is avenged, and that the evil are cast out. A savior in burial garb. A mystical crow, the harbinger of life and death. Something in this film has always appealed to me, some dark place inside of me, perhaps. Or it could be some light and hopeful place? Who can say?

#2 - Labyrinth

Labyrinth. What can I say about it? Another movie that proves magic exists, but we refuse to see it. A movie that shows us fairies are nasty little pests, that tests our wits, and shows us a different way to think about everything. The Goblin King was a cool fellow (maybe a little too cool, there, David), young Sarah so intent, and Hoggle so torn. She couldn't have asked for a better, more loyal group of friends, and that's something every girl certainly needs. I may have killed this movie for my kids, though, as when I put it on, my son says, "Oh, we're going to watch Labyrinth again." Some day they'll love it like I do. SOME DAY!

#1 - Breakfast Club

You'd think I would have outgrown this film, and all of those other teeny-bopper movies from the 80's (Sixteen Candles, Ferris Bueller's Day Off, Weird Science, Pretty in Pink, so on and so forth), but I haven't. Sure, it probably doesn't have the same impact on me that it used to, but it is still the movie I put on when I need something to watch. I was watching this movie while in labor with my daughter (the labor went so quickly right after we started it that I had my hubby stop it and start it over when my daughter was here and everything had calmed). Yet another great soundtrack, though Simple Minds has the song I can listen to over and over, and that always uplifts me in a certain way. The truth in high school as seen through a microscope. It examined why kids act the way they do, and it made sure each of these kids told their story, their background, in order to show us that every one of them was 1. just another person with their own struggles, and 2. just a kid doing the best they could with what their parents, other kids, and life were handing them. I can't wait to share this film (and all the others) with my kids, though they're young yet. I can only hope they'll see in it what the rest of us did, and that it will still carry the same sort of message for them that it did for so many in decades past. It reminds me to this day to try to remember that everyone around me is facing their own struggles, and their outward behavior may be a reflection of that. Does the movie simplify and stereotype? Yeah. But as teenagers, doesn't the world come across that way, anyway?

I forgot Indiana Jones and the Temple of Doom, Beetlejuice, An Officer and a Gentleman, The Princess Bride, A Knight's Tale, Never Ending Story, The Replacements, Speed, Pirates of the Caribbean, Iron Man, The Avengers, Three Musketeers, Young Guns, and so many more! ACK! I could go on forever and ever and ever, but I won't. Can't wait to see everyone else's favorites!

What are your favorite movies? What's your number 1?

May you find your Muse.

Cinema and How It's Changed: A Rant

A quick note to begin: I have visitors this week, so will be delayed in responding to comments and visiting your blogs. I will do so, though, as soon as possible.

I grew up in a movie-centric world due to the fact that both my parents loved movies, but also because both of my parents worked for theaters when I was a child. My dad was a projectionist while working another job and going to college, and my mom worked at several different theaters and did the billing for a dental practice. Obviously, they were busy, which meant I got to go hang out at the theater (and dental practice, which was my grandfather's) all day until I was school age. Back then it was so easy to get lost in a film, to block out everyone around me and just enjoy the story playing out in front of me. I loved going up in the projection room and sorting marquee letters. And when mom was working at the Elsinore in Oregon (now a live theater again), I got to sit up in the balcony all by my lonesome after it was closed to customers. (*Side note: for any Oregonians out there, she also worked at Southgate and Lancaster inside Lancaster Mall.)

When it came time to get my first official job, I made a beeline for the closest local theater (Tiffany Square, for anyone who came to the Springs before 2000 or so, when it shut down). I had the job lined up before I turned 16, and I worked my first shift on my birthday. Eventually, I learned every position, including projection, and became a manager, ultimately managing at two different theaters (Tiffany Square and the good ol' Mac Tri-Cinema in McMinnville, OR).

I lived on popcorn, soda, nachos and Snickers bars purchased with coins I found while cleaning the auditoriums. Every break was spent sitting in the back of the auditorium with a courtesy cup full of popcorn (buttered, of course) and a courtesy cup of soda. I'd watch the same movies over and over again, buying my favorites on VHS tape once they came out. I got all the free movies I wanted, and I certainly took advantage of that (on the rare occasion when I was not working).

I also met my husband at that first theater I worked at. He was an usher when I was a concessionist. Happily, he'll watch movies over and over with me, so I don't drive him nuts (my mom can also watch a movie over and over if she enjoys it, while my dad is a one-time viewing kinda' person).

Tiffany Square was only a six-plex, meaning there were only six screens. While this was a good sized theater in my early youth, by the time I was managing at nineteen years old, multi-plexes were the big new thing. If your town didn't have a multi-plex it might as well not be on the map. A bidding war went down for a piece of land to build a multi-plex and our company (AMC) lost, closing its doors for the last time shortly after I moved on to a different job. Actually, that's not an apt statement. AMC ditched bidding, stating that Colorado Springs wasn't a big enough town to bother putting a multi-plex. Funny, considering we now have three major multi-plexes, one more being built, and a mall multi-plex that existed before the big new ones with stadium seating became so popular.

When Tiffany Square was fighting to survive, we were still doing show checks, which meant our ushers went in several times during the course of the film to monitor for people talking, kids running around, crying babies, people kicking seats, crazy killer clowns and the like. Okay, so we never had a clown problem. I could tell you some other good stories, though.

Back then, viewing a movie in a theater was still an overall pleasant experience. Cell phones weren't an issue yet, so the worst you might experience was a beeper going off, though I never had that happen in a film. Most people seemed to understand the unwritten cinema rules and not talk throughout the movie. Occasionally, there was some random rude person, but they'd be taken care of by an usher doing a show check or another patron would tell them to shut it.

So what changed? At what point did it become alright to take a cell phone call in a theater, let your kids climb on other customers and text throughout the feature presentation? When was it that people stopped caring about other people's movie viewing pleasure and started thinking the entire world revolved around them? Ticket prices are so high these days that I'd think a person would try not to blink, let alone carry on a conversation with Jack back at the plant about how Betty Jean sneezed purple pixie dust out at the work party.

On Thursday I went to a movie with the kids. A woman pushed a stroller in and sat down with her two other children. A separate woman came in with her two boys and sat behind her. In the course of the film, there was not a five minute span where those two groups did not cause some sort of disruption. The baby cried, the mother took a cell phone call at full volume and chatted with her friend, one of the boys kept climbing up on the stroller and yelling, two of the boys fought constantly, another kid jiggled his lip while humming for a good part of it. I couldn't describe one scene of the movie to you, though my children were completely oblivious and enjoyed it. While sitting in their seats. Quietly. Ahem.

This is not a one-time experience. I have only recently begun seeing some movies in theaters again because my experiences have been overwhelmingly negative. Some guy worked on his iPad through an entire movie when my husband went the other night. How is this behavior okay?

I often wonder what flipped the switch. Does my generation (or the one after) lack manners and the ability/desire to respect others? Is it some weird chip on people's shoulders due to the costs? You know, "I spent so much to get in here, I have the right to do whatever I please." Perhaps it has to do with people being able to watch movies at home via VHS/DVD/online streaming. Maybe it taught us that you can do whatever you want while you watch a movie. I'm currently watching Armageddon and chatting with my husband while writing this blog post. However, I shut my mouth when I'm at the movie theater, and I turn off my cell phone. Could it be that we are so used to being constantly tied to other people via our phones, cell phones, internet, etc. that we can't sever that connection for two hours? It often seems to me that the only people enjoying the film are those too inconsiderate to behave. After all, they're apparently having the exact experience they wish for.

I don't see a way back from this. It appears it's time for me to give up once and for all. Heck, we have a home theater set up in the basement (what else could you expect from two people who met working at a movie theater). It's just that some movies are better viewed in super size with earth shaking digital surround sound. I've always enjoyed seeing a special effects film in a theater setting. I guess I need a bigger house.

What about you? Do you still enjoy films at the theater or do you prefer watching them at home? What do you think is the reason for people thinking it's alright to be inconsiderate of others in public? Or do you think I'm full of beans?

May you find your Muse.

Mother Goose and Other Lovable Sidekicks

I was watching Top Gun the other day and thinking how I always liked Goose way better than Maverick, and it got me thinking on lovable sidekicks in books and movies. It's an often used trick in a book or movie, going way back. It's become a requirement in Disney movies, with the sidekick typically being an animal of some sort. My daughter loves Pasquale in Tangled, for instance. In fact, we found a stuffed chameleon at Rainforest Cafe and she just had to have it to carry around, as she aspires to grow up and be Rapunzel (sigh).

Before Disney there was Sherlock's Watson, probably one of the most well known literary sidekicks around (a relationship, in fact, copied in a Disney movie: The Great Mouse Detective). Watson acted as a bit of a foil to Sherlock's eccentricities. He also provided a bit of heart in contrast to the somewhat cold Sherlock.

Now, maybe it's just me, but Goose is one of the first sidekicks that pops into my mind. He was well written and played, lovable, warm and funny. While Maverick was, well, a maverick, Goose was dependable, loyal and sensible. He was a husband and father who sometimes egged Maverick on and sometimes tried to rein him in. Goose, in a word, was awesome.

So how does one write a perfect sidekick that hits all the right spots? What are the rules of sidekicks? They frequently get killed off when not a part of a series. If they're well written their death serves as a type of emotional blackmail to elicit sadness from the reader and willingness to root for victory on the part of the main character. Examples of this are Goose, of course, and Sid from An Officer and a Gentleman. *(I'm trying to use older movies here so I don't give anything away in a more recent one). Both are killed, and both breed a new determination in the protagonist.

The first rule seems to be that a sidekick must be likable. The audience wants to root for this person. I imagine this is the most necessary when the protagonist is not necessarily the most likable person. Maverick is a bit of a juvenile, Mayo is a bit of an ass, etc. Sure, we still root for the protagonist, but how much of that is due to the sidekick who we'll do anything for? If you take Goose out of Top Gun what are you left with? The only relief from a bunch of cocky guys is a light moment where we get to see those same guys shirtless and playing volleyball. Otherwise, the movie is strictly testosterone driven.

Frequently, the sidekick is also amusing, whether they're the class clown or just sarcastic. They bring levity to books and films that may be a bit heavy, dark or serious. They lighten things up, give us a laugh, and transition us into the next heavy scene.

They also tend to be a foil to the protagonist, someone who is their opposite. This causes a pleasant sort of friction between the characters, which can work in differing ways to control or encourage the protagonist. Sometimes it even leads to a fight or a break in the partnership, but they always eventually come back to each other. This opposition often includes the likable and amusing requirements, as their ideal protagonist is somewhat hard to like, as well as very dark or serious.

Finally, they are usually the same sex. Not always, but more often than not. At this moment, I can't think of an example where they're not both male or both female, but I'm sure one will pop in my head later. This makes them better able to be good buddies without relationship woes getting in the way. It also makes it so the sidekick may be more accepting of the protagonist's flaws. They know the protagonist better than anyone else, yet they love them anyway. A male and female might clash a bit more and be less accepting of the other's issues.

On a quick note, I've seen some examples in recent years of the protagonist being the one who is goofy, sarcastic and klutzy, always making stupid mistakes, whereas the sidekick is the serious ass kicker of the pair. I would have to say that I see this more often in female pairs than male, but that may just be because I read more within those parameters. Kim Harrison's main characters fit this bill with the protagonist Rachel Morgan, a witch with many flaws who makes mistakes, and her faithful sidekick Ivy, the serious and dangerous vampire. These books have also broken the no relationships rule, as there has been sexual tension between the two in parts of the series. To top it off, there is also a male sidekick named Jenks, who is a pixy. He provides some of the comic relief and is a lovable family man (he's also far too tiny to have a sexual relationship with). She just broke all kinds of rules, but it works.

Of course, these rules are more guidelines than actual set rules. Their presence may be common, but it most definitely does not appear in every book or movie. Sometimes the protagonist is their own comic relief, their own foil, and/or they are likable. The true first rule is that there are no set rules in writing.

Who are your favorite sidekicks? Are there any rules/guidelines you think I left out?

Happy Writing!