It’s unfair that women are “blamed” for all that is bad. He wanted a more individualistic makeshift universe – and I think that was a really smart choice! Who resent (or are suspicious of) any woman’s intrusion into the manly-manliness of the manly-brothers’ world. Being the one in need of rescue is not a position he’s used to or comfortable with. When they need her help, they hate themselves. For me, it was his totally generic alpha-alpha-ness. He himself is such a “sunny” personality – an “Aw, gee whiz, Neat-o!” kind of guy – and he honors that in himself. He winces at bad things, he moans at unfairness, he doesn’t fight back with the single-mindedness that he would on a normal day. Only who’s the black hat, who’s the white hat in this scenario? Everything good is because of Eve. And maybe because the episode itself was better — I had a HUGELY ambivalent and worried reaction to Asa Fox (I didn’t mind the witch twins on their reappearance, maybe because they showed signs of instability?). There’s an interesting moment of foreshadowing, which also opens up fascinating speculation that Bela – who communicates with the supernatural – knows about Dean’s deal. Even just asking about Hell is almost too much like showing he cares about what happens to him – but it’s a start. An ex-Army medic, Foster sends Grossman for the medical kit under the sink. In an episode filled with mirror-images and repeat-reversals, good-to-bad-to-good luck, the final scene is a repeat of the first. Dean lacks the femme fatale’s sophistication – he also has too much empathy. There’s already something a little “cut off” about him. And Bela. None of that would matter if the director – like Singer does here – doesn’t also get how to FILM a comedic sequence. Her memoir - wh, It’s the birthday of composer György Ligeti - w, On my site: my brother @bomerb writes about the mi, “The Truman brothers are both true men.” Keith Uhlich on, Clarice broke into Hannibal Lecter’s storage facility in, two such men – and two of their best pratfalls – here, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson, From Reverence to Rape: The Treatment of Women in the Movies, Third Edition, Music Monday: Dusty Springfield And Scott Walker: Velvet Perfection, by Brendan O’Malley, “I find that I cannot exist without poetry—-without eternal poetry—” –John Keats, It’s Ezra Pound’s Birthday: “Do not retell in mediocre verse what has already been done in good prose.”, “When the words do come, I pick them so thoroughly of their, “Do I Terrify?”: Happy Birthday, Sylvia Plath, “I’m going to break that marriage up!” Teresa Wright in, Interviewing Sam Schacht about Method acting, Just One Line: Edward Herrmann, 1943-2014, Mia Wasikowska’s Jane Eyre: It’s All About the Angles, William Holden: To Live Like a Human Being, Fully Realized: On Natasha Richardson in Cabaret, The 50 Best Films of the Decade So Far, Part 1, The 50 Greatest Movie Characters of All Time, You, the Jury: Joan Crawford, Otto Preminger, and. Nobody else but someone like Kubrick is going to visit him in prison, keep him up to date, do what he asks. All they are present to is what they want. This is so terrific – so true! extremely cynical, so cynical it’s amazing that film noir more or less originated in America (and not, say, France). Both handily take down the patriarchy. His focus is on relationship. I think it was the Les Paul/Mary Ford version he was listening to, but here’s Jeff Beck and Imelda May – ’cause everyone should hear more Imelda. I almost don’t want that trope to be demolished because of that.) He’s used to SAM being “the problem,” not HIM. I think the best episode in S12 was Dean’s slow erasure of memory. Who knew that that could be as funny as it is? The question any good actor asks when faced with different aspects of script – a line of dialogue, an action, whatever – is: “What do I WANT in this moment.