#tom dougherty

[alexjcrowley]

Miss Kringle's fate: A Useless Essay on the Masks of Abuse and Respecting Equilibriums

(Spoiler for Gotham s2)

I am watching season 2 of Gotham and I finally came to the death of Miss Kringle. I'll have to make a premise: I knew she was going to die already (I spoiled myself quite a lot of the show) and Edward was going to kill her. I had thought, knowing nothing more than these two pieces of information, I would hated Edward for this death. I thought he was going to make a 180 degrees turn, become all of a sudden a horrible man who kills the woman who maybe wanted to break up with him, the epitomy of the violent misogynist. I was wrong, and I am pleased about it. I still think Edward is misogynist, just not in the way I think he would have been, in a way I find more sophisticated.

First of all, to analyse Miss Kringle's death, we have to understand why she was killed. I am usually hesitant to automatically define the killing of every woman as a feminicide, I prefer to use that term only when the motive behind the killing of a woman is directly connected to her gender. What I mean is, if there's a bank robbery and they kill a woman because she was the banker and the thugs needed her dead to steal the money, I personally prefer to simply use the word homicide. If a woman is killed by her partner because she wanted to leave them, especially if that partner is a man, I call that feminicide. That's probably just me, but I say that because I thought, before watching the scene, Edward was going to kill Miss Kringle just because she wanted to leave him. It has to be acknowledged he had another reason for his actions, maybe even more important than the fail of their relationship, which is that she was threatening to tell the police he had killed Tom Dougherty. Ed's reaction does not only depend on his broken heart, but on a very practical reason: he doesn't want to go to jail. As much as he seems to only ask for Kristen not to insult him, there are other reasonings in action behind he keeping her mouth shut and stopping her from leaving the apartment. He doesn't just kill her because "woman weak, man strong, man needs to teach woman lesson". He isn't showing he is the strongest in the relationship, he is trying to protect himself. Does that mean he is not guilt of misogyny? Hell no. But I love how the show treats that.

You see, I was worried Edward was going to turn into Dougherty n. 2, especially with the Riddler saying things like Miss Kringle owed them her love and that women likes their guys a little violent. You have become the very thing you swore to destroy, blah blah blah. But that's not wbat the show does, it's not the Riddler to kill Miss Kringle, it's Edward, and he does it staying true to himself.

Let's get a clear vision of the situation: Edward fucked up by telling Miss Kringle he killed Officer Dougherty. It may surprise you what I am going tp tell you, but I understand Edward. First of all, he was genuinely trying to reassure Miss Kringle. The poor girl was worried she was going to get killed for having another boyfriend, Edward was trying to bring her out of her paranoia. Second: there are moments you feel so connected and so in love with someone, you think you could tell them anything. Spoiler: you can't. Most of the time, you fuck up by being too blunt or revealing them something bad about you, this very romantic idea that your person will love forever and ever the entirety of you is not very realistic. I blame lots of romance books, movies and shows for planting this idea into our head, and especially movies for making us believe that real life is just like a film, that there are scenes too romantic and perfect to be spoiled by a single wrong comment. Usually, when you fuck up a moment like that in real life, you are not confessing a murder to your loved one. Edward was, bad luck. I mentioned romance books and movies and tv shows because I genuinely believe Edward mainly relies, on the subject of romance, on those rather than real life experience. I think Edward thought for a moment he was in a movie and he was the hero, now that he got the girl the story simply ended with a "and they lived happily ever after", nothing could ever change that.

Now Miss Kringle's reaction is completely understandable, she gets scared and she starts insulting Edward. Was that the best strategy to go out of that situation? No, of course not, but can you blame her? She just found out her boyfriend is murderer, and quite proud of it.

Anyway, that's when the fun starts. As I said before, Edward DOES NOT switch to the Riddler, he stays himself the entire time. We have to analyse his words and his actions separately.

Let's start with his words. He is pleading. He is embarrassed, he is ashamed, he is clearly losing the verbal debate. Miss Kringle is the aggressive one, Edward is helpless, almost at loss for words, he just prays not to be insulted. He tries to keep repeating his reasons behind his action, but that just makes things worse (Kristen calls him a stalker). This guy is fragile. His ego was already shattered and Kristen is basically beating a dead horse. Miss Kringle is winning, Edward is losing, badly. He is the scared, he is making up excuses, she is insulting him and threatening him. He keeps showing devotion and love to her hoping this will calme her down. He doesn't suddenly turn Tom Dougherty, he doesn't go "You stupid bitch, I saved you, you owe me!", consciously he is aware he is wrong. His words are the part of himself he can control, and with that part he begs for forgiveness and pity. If we were to only hear their dialogue, I'd imagine she is throwing stuff at him while he is curled in fetal position on the floor. Even her more cutting insults don't make him consciously retaliate against her, threating her to kill her like he did with her ex boyfriend, Edward is acting like the weak one.

Now switch it up, and let's analyse their actions: Miss Kringle is running away, logically, Edward is chasing her. I think their movements represent what they're truly feeling in the moment. They have control over their words but their movements reveal their intentions: Miss Kringle may appear aggressive with the insults, but she is scared and she knows she is the one in danger, she wants to get out of the apartment. Obviously Edward is chasing her to regain, at least physically, some closeness, but then, when she tries to run away completely from the apartment he doesn't simply follow her in the stairs or even the streets, he keeps her in the apartment with physical strength. He is asking for forgiveness on the outside, on the inside he knows he also needs to worry about not ending up in prison, and that's what will happen if he let Kristen go. She hits him multiple times, he is hurt, physically and emotionally, but he has a frenzy in his movements, he doesn't take the time to check his wounds, bring a hand to his face, he is immediately on her. Because he knows he is in danger. Because he knows that Kristen's forgiveness is very important, but that he does not end up in jail is even more important, it doesn't matter if he deserves it or not. He doesn't threaten her with words, he is not ready to acknowledge that, but his actions speak clear.

The scene when Edward holds Miss Kringle tp the door saying he would never hurt her, that he is a good man, while he is choking her and putting a hand on her mouth shows greatly this dissonance between words and actions, in his conscious side and unconscious side. Even then, he is not threatening her consciously. He truly believes himself a hero, he is not lying when he says he doesn't want to hurt her.

And that is the reason I like so much how Gotham treats abuse in relationships.

Edward doesn't need to become Dougherty in order to become an abuser. There's a not a magical revelation in which oh, look at that, Edward is actually exactly like Tom, and he starts acting like him and that's who he truly was all along. Edward and Tom are different people, not all abuse look the same and not all abusers act the same, because abuse has different faces, both Tom's and Edward's.

And it's especially great that we see Edward's abuse because it goes to show that just because someone doesn't believe himself an abuser it doesn't mean he is not one. Edward stood up against Tom's abuse but he couldn't see his own. Edward genuinely thought he was acting good in Miss Kringle's regards and him holding her down towards the door, well, it was just a minor thing to keep himself out of jail, it's not like he wanted to hurt her.

Abusers aren't always villains with an evil plan to lure you in a relationship just to hurt you, they may not even realise they're doing wrong (which certainly does NOT excuse them) and I love Gotham for showing this. In the same way Edward did not realise hebwas hurting, to the point of killing, Miss Kringle, even Tom Dougherty didn't think he was abusing her, he just thought "that's how you treat women". Edward may become a supervillain later on the show, but at this point he is just man convinced he is doing no harm to this woman. Because he doesn't want to harm her he is convinced he is not harming her. Because the reason he is choking her and shutting her up is simply because he doesn't want to go to jail and not purposefully hurting her he is convinced he is not harming her. By my definition of a feminicide I gave before, Edward would say it's not what happened, he didn't want to kill her, he didn't want to hurt, he loved her so he can't be guilty of feminicide, but he is. He just doesn't realise it.

Edward is not Tom, he doesn't think he is the strong man who can take down a fragile woman, his ego doesn't get a boost how that he's proved himself to be stronger than a fragile girl, he knows murder is wrong. He never shows to think less of a woman because she is a woman, he is the first to notice and denounce an abuse, he is lean and lanky, he doesn't look like a gorilla who would attack you, more like a shaking leaf you could easily push around. Still, monsters come in more shapes than one.

I want to be extra fair in this analysis so I'll add even something more about Edward's actions. I have seen a few video essays on Gotham and what they all say is that the city is the true main character, the city shapes his characters and leads them into impossible situations that force them to change and act in ways they would have never dreamed of. I think this becomes incredibly evident in Edward's actions towards Tom Dougherty and Miss Kringle.

I'll start by saying this: I justify Edward's murder of Tom Dougherty. And not because Tom is an abuser (although this obviously makes me sympathise with Edward more than with Tom), but because it was the only way out. Listen to me.

Gotham (the show) spends so much time telling us police is corrupted to the bone and cops often cover eachothers' backs, even when the backs they're covering are guilty of serious crimes. This means that denouncing the abuse Miss Kringle was receiving from Dougherty was not only probably useless, but even dangerous. At best, it would have brought to nothing, Dougherty's colleagues would have said Miss Kringle or Edward were lying (and, especially with Edward, they would have tried to say that he was the creep that was making shit up because of his jealousy); at worst, not only that, but Edward would have got retaliation (probably physical, they would have seriously beaten him up) and the abuse on Miss Kringle would have worsened, as a way to intimidate her from ever trying to come forward again.

If you're thinking of some plot of "making Officer Dougherty leave Miss Kringle/falling for someone else", this does NOT solve the situation, it just means a different woman from Miss Kringle would have ended up abused.

The only solution is, sadly, to do justice by oneself, and that involves violence. Now, Edward use the most extreme option, murder, but let's be honest: it's not like he could ever beat Tom up. And even if he could, Tom would have beaten the shit out of him 10 times worse with the help of his friends. It solves nothing. As sad as it is, unless Edward decided to go to Jim Gordon, The Most Honest Man In Gotham, hoping he could something and quickly, murder is the most obvious solution. Edward could not risk Gordon's involvement to make things worse (and also there's this thing that maybe you don't want to advertise that someone is being abused, the abused person has the right not to want the word to spread and Jim isn't exactly subtle). Anyway, Jim Gordon's involvement was not a guarantee of solving the situation, and again, you fail the first time, Dougherty and his pals become more aggressive and dangerous.

Murder is, technically, always a solution for things, I have to add. You don't want to take a test in school because you know you'll fail? You could technically kill your teacher. Emphasis of technically. That would make you not do the test. Of course you don't murder your teacher for a test, it's an absurd and far fetched solution, a test isn't worth a human life and there hundreds of solutions in between murder and accepting to fail the test (copying the test, not showing up, etc.).

The thing with Gotham (the city) is that it's so filthy and corrupted that even something like murder, which is the last solution you should ever turn to, suddenly becomes a very valid option to consider, especially with a situation as serious as abuse. I don't think Edward was crazy to kill Dougherty, I think he was logical. I think he understood way better than Miss Kringle how things work in Gotham.

Again, Edward is a very logical person. He kills Dougherty because it's the only way to get efficiently rid of the problem, he holds Kristen down and doesn't let her leave the apartment because otherwise she would have got him in jail, he holds his hand over her mouth because her screams would have alarmed the other residents of his building. I am sure part of him also subconsciously knew that choking her and simultaneously blocking her respiratory tracts was going to kill her, but it was the same subconscious part that decided Edward being free was more important than Kristen being alive.

Truly, if we take into consideration how Gotham (the city) works, how it's based on an equilibrium of giving and taking, we may as well put the blame of Kristen's death on Kristen herself. When Edward confesses what he had to do to free her for her abuser and he explains his reasons, he has more of a point than he himself realises. He made a sacrifice to the city of Gotham, he took a life, Tom's, to save another one, Kristen's. Kristen is horrified by Edward's actions, which translates directly in being horrified by Gotham's logic.

She tries to do the right thing. The right thing is not compromising, is telling Edward he is a monster and she'll send him to jail. But she dies, because Gotham doesn't work like that, you don't win doing the right thing. She would have got more chances to win if she pretended to think Edward her hero, to think his actions brave, for the moment, and the day after, at work, she would have confessed everything to the police (people hate Edward Nygma, they would have believed her). She could have asked Edward to give her Dougherty's badge as a proof of his love and later present it to the police as proof of the murder. But that, you see, would have involved foul play, that is the way of Gotham Kristen simply abhors. So she uncover all of her cards and she starts screaming insults and she dies for that, because she refused to bend to the rules of the city.

Edward, instead, understands them very well. When he had to choose between Miss Kringle and his moral principles, he chose Miss Kringle. When he had to choose between Miss Kringle and himself, he understood he couldn't have both, and ultimately, even subconsciously, he killed Miss Kringle. He chose himself.

It's not an easy choice, those are true tears he cries over her dead body, but nonetheless he understood he had to choose. And he did, and that's why Gotham granted him to survive another day. The city is alive and controls all of his inhbitants, the ones who thrive are the ones who understands this do ut des, this constant give and take not even Jim Gordon, the epitome of the honest man, can escape, and that's why he bends to asking and doing favours for the Penguin.

Miss Kringle was asked to choose, live a life happily ever after with Edward and a dark secret or denounce Edward when she could, the only two rational options. She chose the third, to get out of the game, to scream and throw the chess board in the air. Refusing to play the game simply means to die in Gotham, and that was the fate she sealed for herself.

The only one who truly always wins is Gotham itself.

I know this is like a lot for somebody who has just started season 2 and it's definitely overthinking and if you're read until this point wow I'm impressed but Gotham burdens me with thoughts

[sweetlimeharvest]

I know we hate Dougherty for being abusive but the restraint he showed when Ed came up to him with his cringe riddle about love is admirable, bc I was expecting him to just deck Ed

[worminfections]

The way they pronounce Dougherty in Gotham confused me so much like, who the fuck is Dorty????

[f1zzlest1ckzz]

someone should make a gotham little shop of horrors au. and i am not joking.

seymour and (season 1) edward are VERY similar characters. audrey reminds me a lot of kristen, especially her situation with orin (who in the au would obviously be dougherty)

idk who audrey 2 would represent honestly but this is all ive thought out so far

[just-an-enby-lemon]

Kristen Kringle in my Rogues Headcannon Au:

- She is from Metropolis (ew) and since my version of Riddler lived in Metropolis from age six to sixteen the two happened to go to the same middle school.

- She is a bissexual trans woman and while Metropolis by itself is a progressive city there's still a lot of assholes there. Her parents were actually very supportive and at 11 she had already socially transitioned.

- Unfortunally when news spread that she was trans a lot of parents and students alike were opposed to her and tried to banish her from competing in sports and using the right bathroom.

- That was when the bathroom brigade was formed by Lisa Jerkins (my unimportant OC who's main fuction is give Ed extra trauma later) and Eddie Nasthon, they would scoult her to the bathroom, even if it meant just getting up in the middle of class and getting detention, to protect her from being attacked by biggots.

- They were inseparable during middle school.

- She was the first person Edward came out as transmasc for and also his first kiss.

- Unfortunally after two years of suffering attacks from classmates, parents and even some teafhers, her parents decided it was better to her to move schools.

- They keept contact at first, but after his dad broke Edward's phone during a beating, they stopped talking.

- They later meet again in the Iceberg, Kristen was hanging with her new work friends on the Iceberg. One of the girls went to the bar to flirt and grab some drinks and came back crying because some douche she had tried to flirt with had called her "easy, boring and stupid". It was Edward. He wasn't even being purposifully rude, he just has low emphaty and was understimulated and feeling ignored by Oswald witch makes for a very cranky Riddler.

- Kristen of course went to confront the guy and got even more angry when she found him talking with Penguin's underage secretary. Until she realized it was Eddie and he was helping the girl do her homework of all things (in my AUverse Miss Tuesday is Oswald secretary and she bullies/manipulates Ed into doing her homework a lot). So instead they catched up.

- They rekindling their friendship may had resulted in Edward mudering her abusive boyfriend during the most akward double date on history (Edward brough Selina - who was already his ex - because she had shown interest on Kristen and Ed has no common sense or understanding of social norms and is just lucky he was born with a huge charisma status anyway). But hey, he is a known criminal, he is one of the less murderous members of the Dark Knigth Rogue Gallery, but he is a known criminal.

- Selina had the time of her life. No one else did. But Selina enjoyed herself. She got to pet Kristens cat, made a pretty woman blush, stoled a gourgeus astray, helped in the murder of an abusive asshole, she and Ed showed their sick dance moves. It was great.

- To everyone else it was a really bad night. And it almost ended Ed's and Kristen's friendship forever (and Tom was literaly dead by the end of it). But Selina had fun. And that is what really matters.

- No but really. Edward did not murder Kristen, because he isn't a misoginistic creep here and was not trying to convince her to not be mad. He was actually trying to convice himself that he didn't mind she was mad because he was right and is great and fuck her.

- They did slowly recovered their friendship though. With some meedling for Selina, because she cared about the fact other people didn't had a great night.

- Kristen did had a one night stand with Selina at some point.

- She somehow ends dating Doctor Joan Leland who in my AU is - personality wise - closer to Gotham's Lee than this version of Leslie Thompkins.

- The fact Leland is Jonathan Crane's psychiatrist (and the only member of the Arkham staff Jon - bregrundgly - respects, witch is what made her survive being Jon's psychiatrist because Crane is famous for making them became suicidal and quit) is not really important, but I'm briggin it up anyway.

[richardmurrayhumblr]

The 29th edition of the 2024 Richard Murray Newsletter.

topics

The sixty-first of the Cento series. A cento is a poem made by an author from the lines of another author's work. In the series I place my cento and a link to the other authors poem.

Dates

IF YOU MADE IT THIS FAR : Frog and Toad from India Rose Crawford ; Carbon armor ; Design to Repair ; Tom Bombadil and telling a story in different ways ; Sensitivity ; Gundam ; George RR Martin made winds of winter unfinishable

URL https://rmnewsletter.over-blog.com/2023/10/07/21/2024-rmnewsletter.html

#rmnewsletter

[intriguingpeoplebyangelafloyd]

ALEX WINTER

ALEX WINTER

17 July 1965

THE LOST BOYS

            Alex Winter is a British-American actor and filmmaker. He is best known for playing Marko in The Lost Boys (1987), Bill & Ted’s Excellent Adventure (1989) & Bill & Ted’s Bogus Journey 1991).

            Alexander Winter was born in London, England, his mother a New York dancer and his father founded the first modern-dance company in London during the 1960s. His father Ross Winter is an Australian who danced with his mother’s troupe. His father has English ancestry and his mother is Jewish, of Ukrainian descent. When he was five his family moved to Missouri, US and then moved to New York City in 1978; they lived in Montclair, New Jersey. Winter trained as a dancer as a child and started acting when he moved to New York, initially performing on Broadway. He attended New York University in 1983 where he met aspiring filmmaker Tom Stern; the two collaborated on making short films. Winter dropped out of film school and Stern and himself moved to Hollywood, where they continued making films and music videos. Winter looked for work as an actor, including gaining his role in The Lost Boys.  Winter was a film student when he auditioned for The Lost Boys, casting agent Marion Dougherty introduced Winter to Joel Schumacher and Richard Donner. He met the filmmakers whilst dressed in 80s punk rock style clothing, during filming they had him wear hair extensions.

            Winter has an interest in the internet which inspired him to make the documentaries Downloaded (2012) and the Deep Web (2015).

            Winter has been married twice and has three children. In 2018, Winter revealed when he was aged 13, an older man sexually assaulted him whilst he was acting on Broadway. He has spoken publicly how it has affected him and how he has suffered from PTSD since he was a teenager.

#alexwinter #thelostboys #thelostboys1987

[philosopherking1887]

"My own friend, Frankie Carbone, he stabbed him a dozen times. What kind of person plunges a knife into someone over and over?" Don Maroni asks Gertrud about Oswald, calling him a monster and a "cold-blooded psychopath"... and 5 minutes later, in the very same episode, Ed plunges a knife into Tom Dougherty over and over -- 11 times, unless I miscounted.

Oh, the resonances... what kind of person, indeed?

[hrodvitnon]

Hot take but they seemingly went all the way down GvK's campy neon rabbit hole, now with a tinge of post-endgame MCU XD

I kinda miss Kotm's atmosphere and aesthetic even if that film had a truckload of problems. I'm all for the MV being a pure CGI spectacle and all, but it could've been something more.(imagine Dougherty's vibes and Guillermo del Toro's direction ;-;) At least we still have LoM and -1.0 to watch.

(Odd, I could've sworn I had 'MCU' blacklisted... but hey, at least the MV isn't full of crap like "The Hulk is just Shrek from Accounting now" or "Tom Holland".)

People have the option to skip out on GxK, which is fine (more big monster chaos for me, heh). I don't mind the descent into camp because it's not the first time Godzilla started out all grim and serious and then got progressively more fantastical. It's probably better for a series like Legacy of Monsters to tap into the MonsterVerse's serious aspects, because at least then it has the breathing room for stuff like lore and human drama so it's not all about big monsters duking it out. If I really have a problem with something in the MonsterVerse, then I can take it to the ol' AbraxasVerse workshop and iron it out there.

So yeah, I'm gonna withhold any serious judgment until the movie itself comes out, so I'll go where the MonsterVerse takes me. Even if the trip is full of left turns, heh.

[jedivoodoochile]

Norma Jeane to Marilyn Monroe 1926 - 1962. (Scroll down for 1926 - 1962)💋

1926

June 1: Birth at Los Angeles General Hospital.

June 13: Taken to live with the foster family, the Bolenders.

1933💋

Fall: Mother Gladys Baker takes Norma Jeane to live with her.

1934💋

February: Gladys Baker taken to an institution.

1935💋

June 1: Grace McKee becomes legal guardian.

September 13: Norma Jeane is left at the orphanage.

1937💋

June 26: Grace McKee takes her away from the orphanage.

1938💋

November: Goes to live with 'Aunt' Ana Lower.

1942💋

June 19: Marries James E. Dougherty.

1944💋

April: Norma Jeane starts work at the Radio Plane Munitions Factory.

1946💋

April: First National Magazine cover, in 'Family Circle'.

June 26: Photographed by David Conover for 'Yank' magazine.

July 19: First Screen-Test, for 20th Century Fox.

July 23: First Six Months studio contract, renewed in January.

July 29: First mention in a Hollywood gossip Column (Hedda Hopper).

August 2: Norma Jeane Dougherty applies to join the 'Blue Book Modeling Agency'.

September 13: Divorce granted from James E. Dougherty.

1947💋

August 25: Fox Contract not renewed for a second time.

1948💋

February: Marilyn befriends mogul Joseph M. Schenck.

March 9: Contract with Columbia Pictures.

September 8: Dropped by Columbia.

December 31: Meets agent Johnny Hyde, who indicates himself to promote her.

1949💋

May 27: Poses for photographer Tom Kelley - the nude Calendar shots.

July 24: First interview with Earl Wilson.

August 15: Starts shooting 'A Ticket To Tomahawk'.

October: Sings contract with MGM for the breakthrough role in 'The Asphalt Jungle'.

1950💋

January 5: Starts shooting 'The Fireball'.

April: Lands small but perfectly formed part in 'All About Eve'.

December 18: Johnny Hyde dies.

1951💋

March 29: Presents an Oscar at the Academy Awards ceremony.

April 18: Shooting starts on 'Love Nest'.

May 11: Latest six months contract and Fox converted to seven-year deal.

September 8: First full length national magazine feature in 'Colliers'.

1952💋

March: Marilyn and Joe DiMaggio go out on a first date.

March 13: Nude calendar story broken to public.

April 7: First 'Life' cover snapped by Phillipe Halsman.

June 1: On her birthday leans she is to be Lorelei Lee in 'Gentlemen Prefer Blondes'.

August 31: Live radio debut.

September 2: Grand marshal at the Miss America pageant.

1953💋

January, 21: She becomes a star when 'Niagara' is released.

January, 26: Marilyn and Jane Russell put their hand and feet prints in wet cement. At Graumann's Chinese Theater.

September, 13: TV debut at the 'Jack Benny Show'.

November, 4: Premier of 'How To Marry a Millionaire'.

December 15: Doesn't appear for shooting of 'The Girl in Pink Tights'.

1954💋

January, 4: Suspended by Fox.

January, 14: Marriage with Joe Dimaggio in San Francisco.

February, 2: They arrive at Tokyo Airport.

February, 16: Marilyn gives 10 concert's for the American soldiers in Korea.

September, 15: The shooting for the blowing skirt scene, included in the movie 'The Seven Year Itch'.

October, 5: Marilyn divorces Joe DiMaggio.

November, 6: Hollywood party in honor of Marilyn.

1955💋

January, 7: Press conference for 'Marilyn Monroe Productions Inc.'.

January, 15: Marilyn moves to the East coast, she is also suspended by Fox.

February: She met Lee Strasberg, and joins 'The Actor Studio'.

March, 31: She appears on a pink elephant on a benefit evening in 'Madison Square Garden'.

April, 8: Live in TV program of 'Person2Person' with Edward R. Murrow.

June, 1: Premier of 'The Seven Year Itch'.

1956💋

January, 4: A new contract between Fox and MM Productions.

February, 9: Marilyn and Sir Laurence Olivier announce that they will work together in 'The Sleeping Prince'.

June, 29: She marries Arthur Miller.

July, 14: She travels to London to begin with the shooting of 'The Prince And The Showgirl'.

August: Her first miscarriage.

October, 29: She meets Queen Elizabeth.

1957💋

June, 13: Premier of 'TPATS'.

August, 1: Another miscarriage.

1958💋

August, 4: The shooting of 'Some Like It Hot' begins, until November.

December, 17: Another miscarriage.

1959💋

March, 29: Premier of 'Some Like It Hot'.

1960💋

March, 8: Golden Globe award for 'Best Actress in a Comedy', in 'Some Like It Hot'.

June, 18: The shooting of 'The Misfits' begins.

August, 26: Marilyn is admitted in the hospital, some say in was a suicide attempt.

November, 11: Marilyn announce she divorces Arthur Miller.

November, 16: Clark Gable (who worked with in 'The Misfits') died of an heart attack.

1961💋

January, 20: Divorce of Arthur Miller.

January, 31: Premier 'The Misfits'.

February, 7: She is admitted to the 'Payne Whitney Clinic' in New York.

February, 11: She is admitted to 'Columbia Presbyterian Medical Center'.

October: Meets Robert Kennedy.

November: Meets John. F. Kennedy.

1962💋

February: Moves back to Los Angeles, in Brentwood.

March, 5: She get's a Gold Globe Award for 'World Film Favorite'.

April, 23: Shooting begins for 'Something's Got To Give'.

May, 19: Sings 'Happy Birthday' to JFK in 'Madison Square Garden'.

June, 1: Last workday at Fox.

June, 7: fired by Fox.

June, 23: Rehired by Fox.

July, 20: Admitted to the 'Cedars of Lebanon Hospital'.

August, 3: She appears on the cover of 'Life'.

August, 4: The last day Marilyn Monroe was alive.

August, 5: Marilyn Monroe is found dead in bed, autopsy reveals suicide. (possible)

August, 8: Funeral in 'Westwood Memorial Park Cemetery' 🙏💐🌸⚘️💐🌸⚘️

[froms8nsashes]

Colorful

Ed was so used to the greys, blacks, browns, blues, and murky tones of the Gotham police department. He was used to seeing the colorless world as if a filter had been put over his eyes. The colorless world didn't make him depressed, as one would typically think. No, Gotham is his home, always has been. Gotham never bummed him out.

The people did.

As much as he smiled and nodded, complied with what detectives and officer's asked of him while on the job. He couldn't help but hate them in the back of his mind. They were all sad, depressed assholes who clearly could never figure out his daily riddles. Including that medical examiner. Always shouting and reporting him to the captain because "he's not supposed to be in the examiner's office. he's forensics."

That guy deserved the harmless prank. It was either Ed got suspended or her did, and there was no reason for Ed to get suspended.

Just after his friend Jim had gotten demoted to Arkham asylum duty- he only knew because he was listening in- there was a new face in the GCPD. A new, colorful face.

Her hair was stark red, green striped sweater, yellow smiley face earrings. She wasn't grey, or dreary. He couldn't help but smile when he saw her in the medical examiner's office, looking around. Tracing her finger pads over every little detail. Familiarizing herself with the place.

"I question what lies above, and I'm shared with those you love. At my sound your hands will shake, and oft heard soon after wake. A card not found in a deck." Ed plastered a kind smile on his face when she turned around, not all that startled.

"Oh, I was told by some of the officers out there that someone around here liked riddles." Her smile was bright, like the rest of her. She thought for a moment.

"Do you give up?" Ed asked, he didn't feel like he was being pushed away or ushered off.

"Hey, I didn't know they hired such a nice lookin' lady as the new medical examiner."

He tightened his grip on the files he was holding but nonetheless tried to seem polite. Officer Tom Dougherty was not a man he would like to be in the same room with.

"I appreciate the compliment, but I don't think that charm is going to work on me." She noticed Ed's body language, fixing her posture herself.

"Come now, don't let riddle man here bore you." Tom clapped a hand on Ed's shoulder and his entire body tensed. She could see just how uncomfortable he was by the expression on his face.

Ed still tried to look polite and kind.

She cleared her throat.

"How about you come back another time, I was just asking the forensics specialist about the latest case." She stepped toward officer Dougherty, shooing him with her hands.

He grumbled, but forced a smile and let go of Ed's shoulder, leaving shortly after she shooed him away. Pulling out a kerchief she handed it to Ed.

"I don't like contact like that either, now, I think the answer to your riddle might just be a greeting."

He took the kerchief hesitantly, wiping his shoulder and adjusting his glasses. A genuine smile on his face now.

"Correct! Did you know that some doctors say brighter colors make people happy?"

"No, I don't think I knew that. Oh! I have a bright green little cactus you can put in your office." Her eyes were wide and sparkly, and mismatched blue-brown.

She dug around in the cardboard box she set down on the chair and pulled out a little fake potted cactus, it was indeed very green and had a pink and yellow flower on top. It also had a face, a smiling face.

"Isn't it just the cutest? You can keep it." She handed it to Ed, careful not to touch him.

"You want me to keep this?"

"Yeah! You said bright colors cheer people up, right? So why not have something colorful to brighten up your office."

"I- How did you know I work in forensics?"

"They told me to stay away from a guy named Ed Nygma who worked in forensics because he liked breaking into the medical examiner's office, but you seem like a great guy." She continued to dig through the box. "I also don't mind if you use my office, just as long as you put everything back and clean it, of course."

His smile got wider, if possible.

"I...I never asked your name. I'm sorry."

"Rose, Rose Corvid." She giggled.

So, Ed used her office often. He was quite comfortable, and even helped her during autopsies. Always asking if she'd like help. He couldn't describe the feeling but he felt drawn to her. She was the one person in the precinct that enjoyed and answered his riddles, often leading him to feel all bubbly inside. Even if Harvey or Jim made an offhand comment about the riddles he greets them with, it didn't bother him. At least someone enjoyed the daily riddles.

"Hey, I'm grabbing takeout, do you want any?"

She'd poked her head into the room, immediately making the gray atmosphere light up when he looked up from his desk. That same familiar smile found itself on his face.

"How about that new Chinese place around the corner?"

"Anything special?"

"No, it just- "

"Can't have onions, got it!" She saluted to him with a laugh.

His heart fluttered in his chest. It had been doing that a lot lately. He's been feeling very warm lately as well. Looking back at the evidence files he was going over because of the new case Jim decided to take from a rookie.

"Well, well, well. Such a happy face for working in a shithole." Harvey snickered.

"Were you eavesdropping?"

"No, I came here to check on those evidence files."

"Oh, yes. Those." He clicked his tongue as he closed the folder.

"I don't doubt that smile is caused by that Rose lady, she is a might fine piece of ass."

"Detective Bullock."

"What? You know I'm right. It's always the happy ones that have a sadistic side." Harvey joked.,

"Stop talking about her like that!" Ed snapped.

"Oh- Well, I didn't think you had that in you."

"Please leave."

"Come on-"

"Leave, Detective Bullock."

Ed was pointing at the door, this steely look in his eyes.

Rose came back with quite a big takeout bag, entering just as Harvey was leaving. Ed sighed and rubbed his temples, smelling her sweet perfume he dropped the sour expression for a much happier one.

"I see that look on your face. Was Harvey being a jerk again?"

"No, no. It's fine." Ed tried to laugh it off.

She planted a hand on her hip and rose a brow.

"Are you sure?"

"It was nothing, he just needed those evidence files for the case he's working on." Ed was adjusting things on his desk, he was bothered.

"That's bullshit, and we both know that."

"It really is nothing, I promise you, Rose." There was so much adoration when he said her name. He was fidgeting with his glasses and staring at his desk.

"I won't push it, but if something did happen just know you can tell me."

"Why are you so nice? It would be easier if you just ignored my riddles, and me."

Her shoulders slumped and her eyes softened. Setting the takeout bag on the unused counter she grabbed the rolling stool that was sitting there and sat down across from him at the desk.

"Ed, your riddles every day make me happy. I'm glad I get to see you all the time because you're like the brightest person in here."

"What do you mean?" He blinked twice and leaned away.

"I mean, your smile lights up a room, and you have a real passion for autopsies even though no one really lets you touch the corpses post mortem." She gently took his hand that was tapping rhythmically on the desk and held it. "You make me enjoy going to work."

"Thank... Thank you so much. I... I feel that way about you too."

"I brighten your day?" She looked puzzled.

"Sometimes you're like a walking highlighter," He chuckled half heartedly. "Yes, I often look forward to work because of you. You're the only who answers my riddles, the only one who wants me around."

She frowned.

"I can't believe no one wants you around, you aren't creepy at all."

"It's okay, I can understand why sometimes."

"No, Ed. It's not okay." Rose squeezed his hand.

"You have pretty eyes." He blurted out without thinking.

She was caught off guard.

"What?"

"Nothing, nothing. Forget I said that." He pulled his hand away.

"To be honest, I've always thought green eyes were the most gorgeous."

His eyes widened and he adjusted his glasses again, this time adjusting his collar too. Looking anywhere in the room but her he started tapping his hand again, but only his pointer finger.

"Did you make sure there aren't any onions?"

"Yes, I made sure there were no onions, but if there are I can pick them off."

"Thank you."

"You don't have to thank me."

"Yes, I do."

"No, no, anyone would do that for someone they care about."

"Miss Corvi- "

She leaned forward and kissed him quick on the lips.

"Now, food?"

[tomoleary]

Voice For Children Signed "Cartoon Jam" Print (Stabur Graphics, 1986)

“This panoramic print features perhaps the largest number of cartoon licenses granted for one project, as well as what might be the most cartoonists participating in one cartoon jam for a commercial print. The scene also features the first licensed appearances of Walt Disney and Walter Lantz characters co-starring in the same piece. It's a veritable ‘orchestra and choir’ of characters singing for the welfare of children as the ‘Voice For Children.’

“Signed by: Stan Lee, Charles Schulz, Walter Lantz, Jim Davis, Johnny Romita, Milton Caniff, Mort Drucker, Jack Kirby, Bill Keane, Mike Royer, Moebius, Sergio Aragones, Hank Ketcham, Kelly Freas, Bob Thaves, Jim Unger, Jack Hannah, Don Dougherty, Jerry Van Amerongen, Leonard Starr, Arnold Roth, Tom Batiuk, Mike Peters, Harvey Kurtzman, Al Jaffee, Morrie Turner, Mel Lazarus, B. K. Taylor, Marty Murphy, Dean Young and Stan Drake, Russell Myers, Jim Meddick, Dick Locher, Mort Walker, MacNelly, Johnny Hart, Fred Lasswell, Paul Coker Jr, Irwin Hasen, Ray Salmon, Dick Browne, Will Elder, Bud Sagendorf, Dick Moores, Joe Martin, Jack Davis, Bob Foster, Judd Hurd, Frank Ridgeway, Al Williamson, Bernard Kliban, Bill Mauldin, and more.

“And featuring these characters: The Amazing Spider-Man, Captain America, Ms Peach, Mama, Wizard of Id, B. C., Nancy and Sluggo, Robotman, U. S. Acres, Gasoline Alley, Dondi, Conrad, Broom-Hilda, Mama, Wee Pals, Luann, Animal Crackers, Terry and the Pirates, Wright Angles, Dick Tracy, Family Circus, Benchley, the Neighborhood, Charlie Brown, Peanuts and Snoopy, Beetle Bailey, Hi and Lois, Hagar the Horrible, Groo the Wanderer, Cathy, Mickey Mouse and Donald Duck, Popeye, Blondie, Woody Woodpecker, Little Annie Fannie, Mr. Abernathy, Little Orphan Annie, Dennis the Menace, Herman, President Ronald Reagan, First Lady Nancy Reagan, Buddy Hackett, Snuffy Smith, Garfield, and Alfred E Neuman.”

Source

[rattlinbog]

Books Read in 2022

January

The Red-Haired Girl from the Bog: The Landscape of Celtic Myth and Spirit by Patricia Monaghan 

The Unpassing by Chia-Chia Lin

North and South by Elizabeth Gaskell

The Hakawati by Rabih Alameddine 

February

The Final Girl Support Group by Grady Hendrix

The Beauty and the Terror: The Italian Renaissance and the Rise of the West by Catherine Fletcher

The Desolations of Devil’s Acre (Miss Peregrine’s Peculiar Children #6) by Ransom Riggs 

Eifelhelm by Michael Flynn 

The Time Traveler’s Guide to Elizabethan England by Ian Mortimer 

March

The Wives of Henry VIII by Antonia Fraser

The Salt Path by Raynor Winn

The Watchmaker of Filigree Street by Natasha Pulley (reread)

The Lost Future of Pepperharrow by Natasha Pulley

April

The Parted Earth by Anjani Enjeti 

Homeland Elegies by Ayad Akhtar 

Once There Were Wolves by Charlotte McConaghy 

The Last Blue by Isla Morley 

Lone Stars by Justin Deabler 

All the Young Men: A Memoir of Love, AIDS, and Chosen Family in the American South by Ruth Coker Burns

I Know Why the Caged Bird Sings by Maya Angelou

May

The Vanishing Half by Brit Bennett

If Beale Street Could Talk by James Baldwin

Klara and the Sun by Kazuo Ishiguro 

Station Eleven by Emily St. John Mandel (reread)

As Long as Grass Grows: The Indigenous Fight for Environmental Justice, from Colonization to Standing Rock by Dina Gilio-Whitaker 

LaRose by Louise Erdrich

A History of Native American Land Rights in Upstate New York by Cindy Amrhein 

June

Four Treasures of the Sky by Jenny Tinghui Zhang

Member of the Family: My Story of Charles Manson, Life Inside His Cult, and the Darkness That Ended the Sixties by Dianne Lake and Deborah Herman

These Silent Woods by Kimi Cunningham Grant

Darkwater: Voices from Within the Veil by W.E.B. Dubois 

Take My Hand by Dolen Perkins-Valdez 

A Marvelous Light by Freya Marske 

Catch and Kill: Lies, Spies, and a Conspiracy to Protect Predators by Ronan Farrow

July

No Exit by Taylor Adams

The Wanderers by Meg Howrey 

A Tall History of Sugar by Curdella Forbes

Peach Blossom Spring by Melissa Fu

Calypso by David Sedaris

My Antonia by Willa Cather 

The First English Actresses: Women and Drama 1660-1700 by Elizabeth Howe

English Animals by Laura Kaye

Their Eyes Were Watching God by Zora Neale Hurston

August

An American Marriage by Tayari Jones

The Sea Around Us by Rachel Carson

Exhalation: Stories by Ted Chiang 

The Ice Cream Queen of Orchard Street by Susan Jane Gilman (reread)

The Latecomers by Helen Klein Ross 

Unlikely Animals by Annie Hartnett

The Book of Longings by Sue Monk Kidd

September

The Island of Missing Trees by Elif Shafak 

The Invention of Wings by Sue Monk Kidd

Country Roots: The Origins of Country Music by Douglas B. Green

Drive Your Plow Over the Bones of the Dead by Olga Tokarczuk

Golden Gates: The Housing Crisis and a Reckoning for the American Dream by Conor Dougherty

Sexing the Cherry by Jeanette Winterson (reread)

J.M. Barrie and the Lost Boys: The Real Story Behind Peter Pan by Andrew Birkin

The Lost Ones by Anita Frank

October

A History of Wild Places by Shea Ernshaw

When No One is Watching by Alyssa Cole

The Corn Maiden and Other Nightmares by Joyce Carol Oates

The Reddening by Adam Nevill

My Heart is a Chainsaw by Stephen Graham Jones

November

It Happened in the Smokies... A Mountaineer’s Memories of Happenings in the Smoky Mountains in Pre-Park Days by Gladys Trentham Russell

Pastoral Song: A Farmer’s Journey by James Rebanks 

Jesus Land by Julia Scheeres 

I Was Told There’d be Cake: Essays by Sloane Crosley

The Postmistress by Sarah Blake

The Thousand Crimes of Ming Tsu by Tom Lin

December

Floating Coast: An Environmental History of the Bering Strait by Bathsheba Demuth

Disappearing Earth by Julia Phillips

Four Lost Cities: A Secret History of the Urban Age by Annalee Newitz

The Bloody Chamber and Other Stories by Angela Carter (reread)

The Tenant of Wildfell Hall by Anne Bronte (reread)

Mrs. Death Misses Death by Salena Godden

Moon of the Crusted Snow by Waubgeshig Rice

[cvrnelians]

No one, nobody, not a single human being in Gotham City:

Officer Tom Dougherty: hEYYYYY. riDDLe mAn!!!!!!!

[pleaseminddgap]

Blonde: un film non all'altezza del romanzo, o della vita

Ho scelto di vedere questo film una volta passato il clamore, il facile entusiasmo o le stroncature senza appello di chi non ci vedeva la trasposizione fedele della vita di Norma Jean Baker in arte Marilyn Monroe.

Da quando ero una bambina sono appassionata delle vicende di questa donna, e in secondo luogo di questa attrice. I traumi infantili, la mancanza di un padre, l'essere oggettivizzata dagli sguardi maschili, il rapporto con la maternità mancata (o vissuta): sono tutte esperienze che un'altra donna può comprendere. Prima dell'uscita del film, con congruo anticipo, mi sono preparata, affrontando le settecentoepassa pagine del corposo e bel romanzo di Joyce Carol Oates dal quale il film è stato tratto: un romanzo, non una fedele biografia. Contenente molte parti di fantasia, molte illazioni credibili ma totalmente inventate, per ammissione della stessa autrice. Il libro l'ho amato, al punto da averne registrato anche la lettura di un brano, che poi ho condiviso su YouTube. Sebbene sia in larga parte frutto di fantasia, è vivo, palpitante, capace di far percepire sensazioni simili a quelle che deve aver realmente provato Marilyn. A sentirsi violata, recapitata qua e là come un pacco, da una famiglia all'altra, da un letto all'altro.

Ne esce fuori il ritratto non di una vittima in senso assoluto bensì di una donna segnata fin dalla prima infanzia nel profondo, che rimane intrappolata dal suo aspetto e dal suo talento naturale per la recitazione. Una ragazza tanto sensuale da diventare la proiezione del desiderio altrui, una dea sessuale universalmente riconosciuta. Una donna affamata di sapere, consapevole dei propri limiti, in cerca di un'identità che venga accettata (e che le riporti indietro una figura paterna). Gli uomini che la circondano? In larga parte sono laidi, sfruttatori e, solo in due-tre casi, uomini che provano ad amarla davvero. Oltre a loro, solo il fidato amico e truccatore Whitey.

La sessualità come tema cardine, ciò che avrebbe dovuto esserci e ciò che manca

L'accento sulla sessualità, centrale nel romanzo, resta tale anche nel film: il sesso anale sul tappeto del produttore, rievocato anche in alcuni flashback, il sesso a tre con i "gemelli" (che, a differenza di Norma Jeane, soffrono l'ingombrante presenza dei loro padri), la fellatio fatta a Kennedy. Poi c'è la Marilyn tormentata dal passato, l'orfana di padre (e anche di madre, in una certa misura), l'isterica, la madre frustrata nel suo desiderio di maternità, la donna che fa i conti con la perdita di una vita e di un sogno, la donna violata, l'insicura, che però appena si accendono i riflettori pare splendere di luce propria.

Mancano totalmente all'appello alcune sequenze, peraltro fedelmente biografiche, che nel libro sono essenziali per lo svolgimento dei fatti: la vita all'orfanotrofio di Los Angeles, la sessione fotografica con Tom Kelley (Otto Ose nel libro, ndr), che a distanza di anni la porterà a comparire sul primo numero di Playboy e a dare scandalo; il matrimonio a soli 16 anni con Jim Dougherty (Bucky Glazer nel libro, ndr), durante il quale verrà scoperta come fotomodella; il tour in Corea durante il quale cantò per i soldati americani al fronte: una delle occasioni nelle quali, per ammissione della stessa attrice, lei era stata più felice. Manca anche Happy Birthday Mr President, la canzone di compleanno cantata davvero da Monroe a Kennedy il 19 maggio 1962 al Madison Square Garden di New York, una delle sequenze più vivide del libro (alla quale ho riservato la lettura su YouTube).

Che né il libro né il film siano strettamente biografici lo si capisce subito, se si conosce bene la biografia di Marilyn. In entrambi non vengono mostrati esplicitamente gli abusi (nel libro sono vissuti in modo vivido come qualcosa al confine tra sogno e ricordo rimosso, senza essere mai descritti), l'amore breve ed extra coniugale con Yves Montand, l'amicizia con Truman Capote (che l'avrebbe voluta nella trasposizione cinematografico del suo Colazione da Tiffany, ndr), la relazione lesbica con l'insegnante di recitazione Natasha Lytess' e tanto altro.

Punti di forza e punti deboli

Quindi ecco quali sono, secondo me, i punti di forza e i punti deboli di questo film.

I punti di forza: il lavoro intenso e coraggioso sul personaggio di Ana De Armas, sulla carta molto diversa da Marilyn, sia fisicamente che come retaggio culturale (De Armas è cubana, sebbene il suo lavoro sull'accento sia stato molto accurato). Tuttavia, De Armas fa di tutto per essere Marilyn, oltre a sottoporsi a lunghissime sessioni di trucco, proprio come la stessa Marilyn: una fase essenziale per smettere di essere Norma e diventare la "maschera" Marilyn; la scrupolosa ricerca iconografica, sebbene questa risulti talvolta erronea e decontestualizzata; i numerosi tentativi di nobilitare l'opera con trovate registiche alternative, con una pretesa di originalità; la fotografia, che è stata curatissima in ogni dettaglio.

I punti deboli: voler mostrare tutto, spiegare tutto, rendere in modo patinato anche l'intimità della donna Norma Jean (un esempio su tutti: il feto del suo "Baby" mai nato, che poteva tranquillamente essere evocato senza essere mostrato esplicitamente); la superficialità: il film sembra una carrellata di celebri foto di Marilyn, ricreate pedissequamente ma totalmente decontestualizzate e incoerenti nel loro flusso; la scelta di fare la copia/caricatura di Marilyn rendendo De Armas, in certi fotogrammi, quasi irriconoscibile dall'originale; il doppiaggio italiano, esasperato, che riproduce più il doppiaggio dei film di Marilyn (e quella voce da bionda svampita che l'ha resa riconoscibile) che la reale voce dell'attrice.

Certe trovate che strizzano l'occhio alla morbosità dello spettatore, come la scena della masturbazione nella sala cinematografica all'anteprima di Niagara, sono superflue e quasi grottesche, oltre a non essere presenti nel romanzo. Al contrario, la scena della fellatio praticata a John Kennedy nel libro è presente e rende bene l'idea dell'umiliazione di Marilyn. In un'intervista a Variety Ana De Armas ha commentato così le scene esplicite alle quali ha preso parte: "Ho fatto cose in questo film che non avrei mai fatto per nessun altro, mai. L’ho fatto per lei (Marilyn, ndr) e l’ho fatto per Andrew. So cosa diventerà virale ed è disgustoso. È sconvolgente solo a pensarci. Non posso controllarlo. Non si può davvero controllare cosa fanno le persone e come estraggono le cose dal contesto. Non credo che la cosa mi abbia fatto avere ripensamenti, mi ha solo dato amarezza pensare al futuro di quelle clip". Mi sento di giustificare, almeno in parte, il regista Andrew Dominik: un materiale succoso come il romanzo di Oates sotto mano, così visivo e avvincente, era molto facile farsi prendere la mano. L'autrice del romanzo, comunque, è intervenuta in difesa della trasposizione Netflix con un tweet: "Penso che sia stata/sia una brillante opera d'arte cinematografica ovviamente non per tutti. Sorprendente che in un'era post #MeToo la cruda esposizione della predazione sessuale a Hollywood sia stata interpretata come 'sfruttamento. Sicuramente Andrew Dominik intendeva raccontare sinceramente la storia di Norma Jeane".

Le altre Marilyn

C'è una bella differenza tra Blonde e un film come My Week With Marilyn (2011), che alla sua protagonista è valso un Oscar: a differenza di De Armas, Michelle Williams non pretende di essere il calco identico di MM, sebbene le somigli fisicamente più dell'attrice cubana. Tuttavia le restituisce una verità inconfutabile, senza risultare mai sopra le righe. Certo, bisogna tenere conto di un'altra differenza importante: il film del 2011 è basato sul memoir strettamente biografico di uno scrittore (Colin Clark, ndr) che ha conosciuto davvero Norma Jeane e ci ha passato del tempo assieme, raccogliendone confidenze e pensieri. Erano i tempi in cui lei si trovava a Londra per girare Il principe e la ballerina con Laurence Olivier nella doppia veste di protagonista e regista (1957) e lui era un giovane neolaureato al suo primo impiego come assistente personale del regista inglese. Tornando a Blonde, del romanzo di Oates esiste un'altra trasposizione filmica: la miniserie prodotta da CBS con Poppy Montgomery come protagonista. Mi riprometto di vederla al più presto per poter fare un confronto.

[toneelectro]

Unbelievable. Tom Verlaine (December 13, 1949 – January 28, 2023)

I was lucky enough to see/hear Tom Verlaine and Television in Madison, Wisconsin in 1978.

Then, in 1981, I saw him on tour just after the release of his second solo album, Dreamtime. He was joined by bass player Fred Smith of Television, drummer Jay Dee Dougherty of the Patti Smith Band, and guitarist Ritchie Pfliegler.

I was such a fanboy that I had literally been released from the hospital earlier that day after an emergency appendectomy and went directly to the concert.

Television’s debut album, Marquee Moon, was the first punk album I ever bought, on cassette. If I were stranded on a desert island, with a solar-powered record player... RIP