∞

With each passing film, I’m becoming more impressed with both Kristen Stewart and Robert Pattinson. They’ve been crafting unique and respectable filmographies over the last several years.

I was recently floored by Spencer. Seems that Twilight was a mere bump in the road.

UPDATE: Kristen Stewart just got a Best Actress nomination for her role in Spencer! Well-deserved.

∞

I wish I could explain why the last 10% of a toothpaste tube lasts as long as the previous 90%. I can’t seem to squeeze an answer out of that conundrum.

∞

Two free FDA provided COVID tests.

I got my free COVID tests in the mail today! I’m thrilled to have them on hand.

Getting them couldn’t have been simpler and took me all of a minute to do. U.S. residents can order four free tests for their household at COVIDtests.gov.

∞

Apple will charge 27% commission for app purchases made using alternative payment systems in the Netherlands ↗

Astonishing.

A quick sampling of the most egregious aspects of this new entitlement:

  • This meager dip in commission is a complete negation of the benefits of sending out potential payers/subscribers to external destinations for purchase.
  • There is no ability to also support In-App Purchases using Apple’s payment system.
  • Developers must provide a report to Apple recording each sale facilitated through the App Store within 15 calendar days following the end of their fiscal month.

This all feels childish and despicable, but there’s a clear reason why they’re doing it. Let’s couple this story with a look at the Services revenue from the financial results they published on January 27.

A bar graph of Apple's Services revenue over the last thirteen quarters.

(Image from Apple Q1 2022 Results - $123.95 Billion Revenue by John Voorhees at MacStories.)

Notice how Apple’s Services revenue has only ever gone up, save for the most minor of dips in Q3 2020.1 This is a 26% increase year-over-year. It’s the largest growing part of the company and a booming business all on its own!

Q1 2022 has been their most successful quarter ever. Quite a feat when the world is still stuck in a COVID mess.

I see the motivations behind Apple’s reaction to the order by the Netherlands Authority for Consumers and Markets (ACM) in two ways:

  1. They’re trying to see what they can get away with in the face of mounting regulatory pressure to change how they run their business.
  2. They’re terrified of seeing those bars in their Services revenue start to go down.

A bonus third motivation:

  1. When the chips are down, their money is vastly more important than the developers that helped those bars go up in the first place.

Talk about short-sighted and hostile, but then, no company has ever been accused of being sensible, generous, and kind when they’re working with the sort of money Apple makes. This isn’t surprising—Apple’s long been dragging their feet and expending massive amounts of resources to avoid doing anything that will get regulators off their backs. However, it is a disappointing development.

I’m not interested in sideloading apps onto my phone or any of the other potential demands that regulators may make. I’m on Apple’s side when they say those changes will make their devices less secure. There’s a line in the sand to be drawn somewhere.

On the other hand, it’ll be less painful for all of us if they would extend an olive branch and allow apps to link out to sites where payments can be made, sans required commission. I feel confident that would do wonders to help alleviate their increasing and well-earned problems with world governments, even if it may hurt their bottom line.2

But I guess developers of their apps and users of their products aren’t the most important thing to them, and that’s coming from someone who otherwise values this company.

  1. But wasn’t everything crazy and unusual during the middle of 2020? Regardless, they made up their losses in the next quarter by an impressive amount. ↩︎

  2. But perhaps not as much as they fear? Their In-App Purchase system is well-designed and trusted. It’s far easier to use than any alternative. Maybe they should believe in themselves more. ↩︎

∞

Title Card: There Will Be Blood (2007)

The title card for the film, There Will Be Blood.

There Will Be Blood was written and directed by Paul Thomas Anderson. It was released in 2007. The titles were done by Pacific Title and Art Studio.

The film was produced by Paul Thomas Anderson, Daniel Lupi, and JoAnne Sellar, along with Ghoulardi Film Company. 🎞

∞

Letterboxd Diaries—January 2022

  • Paddington: What a fun and soothing balm this film was! I’ve got very little experience with the story of Paddington, the bear from Darkest Peru, but as far as I can tell, this one is something that everyone can love. There were some tense and heavy moments, so it’s not sunshine and rainbows all the way through. However, I loved the trouble that Paddington would get himself into. His goofiness, charm, and innocent way of looking at the world captured my heart as easily as it captured those of the Brown family. (★★★★½)
  • Withnail & I: Let this film be a lesson to us all: never be an English actor in the ‘60s. It’s only going to end poorly. You’ll end up pissed out of your mind, wracked with paranoia, and stumble into an accidental vacation out in the countryside. It’s appropriate that Ralph Steadman is responsible for this film’s artwork these days because this one was about as psychotic as Fear and Loathing in Las Vegas. It’s about as brilliant, too. The energy is propulsive and insane. You’re sure to want a shower after watching this one. (★★★★)
  • Presumed Innocent: There were a whole lot of shocking revelations at the end of this film. It’s a shame the beginning felt bogged down with sleepy talking in drab law offices. That sure does make it a bit of a challenge to follow all of the plot intricacies. When the film finally got to the courtroom proceedings, things kicked into gear. That was all done well—it was authentic, suspenseful, and included about as many breaks to confer in the backstage hallways as a real court case involves. I don’t think this one is going to stick with me like the best of the genre, but it was fun while it lasted. And holy cow, Raul Julia was great! (★★★½)
  • Vice: I’m struggling to find a reason to create a biopic about a man that, by the film’s admission, has let very little of his personal life be known. So then, what is the point of a film like this? To humanize a bastard? To show the asshole parts that make up an asshole sum? To show the true power of the puppeteer? To condemn others for not stopping a bloodthirsty monster who is supported by the machine he’s helping run? I’m not sure this film knows what it’s trying to do. It’s too eager to get to its next clever editing trick to figure out what the message is. Perhaps what it can do is educate—show what happens when terrible people run rampant. Prove that absolute power corrupts absolutely. It’s also a showcase for Christian Bale’s considerable talents. Oh, and Alfred Molina. Aside from those things it was about as effective as the War on Terror. (★★½)
  • In the Line of Fire: This is kind of wild to watch these days. On the one hand, the great cat and mouse game between Clint Eastwood and John Malkovich never gets tiresome. It’s a thrill all the way through. On the other hand, it’s unpleasant to watch a dinosaur man try to seduce a woman who is easily at least a couple of decades his junior. Ugh, and in such an outdated, “you should be thankful I’m even noticing you” sort of way. Stay for the action, is all I can say. It’s a good thing this film excels at its action pieces. (★★★½)
  • Self/less: How could a movie made by the director of The Fall and with such an interesting high-concept story be this boring and ineffective? The whole thing loses its thread faster than you can blink. It keeps forgetting its own premise, allowing Ryan Reynolds to be himself when he should be Ben Kingsley. I felt a real lack of stakes with this one and that made it all too easy to ignore. I wish this was more of a dazzling Tarsem film and far less of an entirely bland and forgettable action film. (★★)
  • 50/50: Once it finds its footing, this film shines. There’s a slightly rocky opening that doesn’t include a whole lot about dealing with the cancer that’s central to the story. It’s necessary, though, and makes everything that follows affecting and occasionally devastating. This is one of those smaller budget films that allows its impressive cast to really show off their chops, and they do that here. Joseph Gordon-Levitt and Seth Rogen each bring welcome depth to their characters. This may not be the happiest film, but it is very life-affirming. Also, fuck cancer. (★★★★) ↺
  • Louise: As a man, I can confidently say two things: we suck and the world would be far better off if we stopped forcing our mad, ego-driven, stolen power on everyone else. Those truths are depicted poignantly in this short film. It goes by in a flash, but the dawning realization of how these too young girls are treated by everyone in this microcosm of dance will stick around for a long time. Its animation is also exquisite. It has beautiful energy and moves between light and darkness with confidence and grace, firmly placing the viewer in its world. It’s tough to watch, but worth it. (★★★★)
  • Jaws: The first blockbuster, and arguably still the best blockbuster. This is as thrilling, emotional, and action-packed as great films get. It really set a high-water mark (no pun intended) that few films after this one have ever achieved. The first half does a superb job of setting the high stakes. The second half is a chase-buddy scene that keeps the tension high. It’s just excellent. (★★★★★) ↺
  • The Passion of Joan of Arc: What a moving tragedy. To see such belief picked apart and torn down by men who are afraid of losing their positions of power was agonizing. And really, what else was it but that? These clergy—by far more evil than the person whom they condemned—cannot bear to have their authority usurped or allegiances broken. No, it must only be them who can communicate with their deity. Anyone who claims to have that same power, and especially a woman, must be mad and silenced. So they burn a teenager at the stake, and all because of a broken sense of righteousness. It’s all depicted in a towering film. Maria Falconetti is beyond compare. Carl Th. Dreyer crafted an experience that still feels so modern and experimental. This one is glorious. (★★★★★)
  • Niagara: There isn’t any other song. You’ve got that right, Marilyn. Now I would never condone cheating on your spouse, but oh boy, George Loomis wasn’t doing a whole lot to foster a happy home life. Should that end in infidelity and murder? Nope. Everyone sucks here (except for Polly Cutler). Special additional shout out to Ray Cutler who kept ogling the pretty blonde while around and negging his wife. This was my first Marilyn Monroe film and it was okay. Ultimately, it was forgettable, but I had a decent time while watching it. (★★★½)
  • Pickup on South Street: You’d think this film was all about pickpockets, microfilm, and nighttime embraces, but the most interesting person in this whole thing is the tired stoolie/tie salesperson, Moe. You could make an entire movie about her and it would be one of the most moving and universal stories ever put to film. We’re all Moe, just trying to make ends meet any way we can. The whole pickpocket… let’s just call it a b-story at this point, is thrilling and mysterious. People get punched, the bad guys are caught, and everything is wrapped up in a neat bow, at least for the people you might end up cheering for. It’s gritty noir done in little whispers and crashing outbursts. (★★★★½)
  • CODA: I was in happy tears by the end of this one. It’s a film that, to the best of my knowledge, tells a story that hasn’t been explored before. Or, if it has, then not nearly as well or as touching as this one. Being a child of deaf adults is understandably a challenge for all involved. When it comes to being hearing disabled, this is a fact that goes overlooked so often, especially in movies. CODA explores those issues in a respectful way. It also does that while showing just how wonderful, complicated, and weird love can be. This is a lovely film. I hope more stories like this one will be told. (★★★★)
  • Spaceballs: This is another one of those ‘80s films that I really should have seen when I was much younger. It’s beloved, and I can see why, but it’s not doing anything for me personally. As far as spoofs and Mel Brooks movies go, this one is pretty middle of the road. It’s imaginative and the character names are great. However, the pacing is rough, and well, I imagine it was funnier when it came out. The John Hurt cameo made it 100% worth it. (★★★)
  • Terms of Endearment: What a sneaky film this was! One moment you’re watching a young woman grow up and fall in love and the next you’re getting punched in the gut. Is there any warning for the twists and turns this one makes? Hardly, but if you’re open to everything, then I think this one is rewarding. The performances and writing make it all worthwhile. It’s not the most impressive-looking thing, but there’s no question about it deserving the several Oscars it won. This was a remarkable and touching ride. (★★★★)
  • Psycho Goreman: Clearly a cult classic in the making. All it needs is a few more years. It’s got such a genuine love for gruesome and practical monster effects of the sort that were all the rage in the ‘80s and ‘90s. That sort of thing isn’t exactly my cup of tea, but I can appreciate how well it’s used here. The filmmakers reveled in making their fake blood budget go a long way. This also feels like it should have been more of a short film—it starts stretching thin after too long. Regardless, I’ve never seen a movie better suited for young horror lovers. It’s got a nice message, too: Use the power of love to destroy the galaxy! (★★★½)
  • It Happened One Night: As the proto-romcom, this is charming, fun, and absolutely hilarious. Clark Gable and Claudette Colbert were only in two movies together and that’s a damn shame. Their chemistry is boisterous and spirited from the get-go. I wish they were in many more movies together! This one will have you chuckling along with their witty banter and hoping that those Walls of Jericho will finally come toppling down. This is as fun and memorable as movies get. (★★★★★)
  • 9 to 5: Jane Fonda, Lily Tomlin, and Dolly Parton having enough of men’s workplace nonsense is the sort of pick-me-up that can turn a dull day into a great one. Comic geniuses plus a story about getting back at one of the worst bosses of all time? Sounds hilarious and engaging to me! Their camaraderie makes the story feel propulsive. If there was a sour note, then I couldn’t find it. More movies should be imbued with the silly energy that this one shines with. Time for me to watch everything else featuring these amazing women. (★★★★½)
  • The Third Man: Whenever I hear about this film it’s all Joseph Cotten and Orson Welles, but I was captivated by Alina Valli. She’s beautiful, yes. She’s subtle and lets the universe inside her out in tiny drips and drops. She can tell an entire life story in a fleeting glance. Oh, then there’s the mystery of this story! Who killed Harry Lime? But is he even dead? That may not even be the most interesting story in this film, and that’s saying something. This is a gorgeous film with a unique score. It demands close and repeated viewing, which I’m all too happy to give. (★★★★½)
  • La Femme Nikita: If this isn’t the first woman-has-to-choose-between-learning-to-be-an-assassin-or-be-executed film, then it’s definitely the best of the bunch. Nikita never stops believing in the promise of a good and carefree life, even when it means sacrificing what makes her happy. That pull against her obligation to kill makes for several satisfying emotional conflicts. She may be talented, but the immoral demands of her job take too much of a toll. By the end, it’s hard not to feel sad for her. It all makes for a confident film that’s also full of action, but with a slightly underwhelming finish. Anne Parillaud is magnificent throughout. (★★★★) ↺
  • Forrest Gump: Many have criticized, and rightly so, the underlying, but probably unintentional, message of this film. Fall in line if you want to succeed. Step out of line and you’ll have a shit life before dying of AIDS. I don’t necessarily disagree with any of the objections, but this is also a story of a man who’s lived one hell of a life (even if he might not realize that). It’s a film crafted with exquisite care and love. It’s hard not to be sucked into the world that the film depicts. There are more than a few heart-wrenching and triumphant moments. All of which contribute to making this one the lasting story that it is. As always, it’s moving. (★★★★½) ↺
  • Dave: Perfectly pleasant, like a mug of hot cocoa at the end of a long, chilly day. Depicting the ultimate switcheroo, the U.S. finally gets itself a president worth celebrating. I guess it had to happen sometime. Kevin Kline pulls double duty as the President and a double hired to play him after falling victim to a major stroke. Luckily, Dave is a decent guy and the country ends up with a “leader” who’s actually worthy of the title. The film doesn’t offer much in the way of surprises, but it makes up for that with excellent performances and a good heart. (★★★½)
  • Moonstruck: I could die a happy person if I got to see La bohème with Nicolas Cage in my finest duds. That may not ever happen, but I did get to see Cher enjoy an opera-filled evening out with him and that’s enough. This film was top to bottom delightful. It especially shines whenever Cher’s character is surrounded by her family. They’ve all got stellar chemistry. Throw in several dashes of infidelity and pasta dinners and this becomes a film I wish I had seen far earlier than now. Did Cher ever earn her Oscar here! (★★★★½)
  • Some Like It Hot: Whoever taught Tony Curtis and Jack Lemmon how to run in heels is the true hero of this film. They were an absolute delight the whole way through as a pair of stage musicians on the run from the mob. Oh, and Marilyn! This is the second film I’ve seen her in and what a performance she gave. Her singing numbers were memorable—full of life and passion. I don’t need to be the one to say that Billy Wilder was a genius, but his great talent is on full display here. This is a perfect “will make your day immediately better” film and one that I can’t wait to see again. (★★★★★)
  • Blush: Well-told, deeply personal, and beautifully animated. This is a love letter in short film form to the director’s late wife and it packs an emotional punch. For me, it was good while it lasted. I was impressed with the visual style and quality, as well. This is a good inclusion into the Apple TV+ catalog. (★★★½)

Total movies watched: 25.

My favorite movie of the month: Paddington. I watched some stellar films this month, but that’s the one that made me the happiest.

My least favorite movie of the month: It’s a toss-up between the bitter boredom of Self/less and the frustration of Vice.

Be sure to follow me on Letterboxd! 🎥

∞

The ban of Maus and other essential books

From Rachel Wegner at Tennessean, “Tennessee school board’s removal of Holocaust book ‘Maus’ draws international attention”:

The McMinn County School Board voted 10-0 to ban the book in a Jan. 10 meeting, citing concerns over “rough” language and a nude drawing of a woman, according to meeting minutes posted to the district website.

The difficulty in trying to find a copy of Maus to purchase right now, whether through Amazon or any other, better bookseller, is a sweet irony. I feel compelled to purchase a copy of this important work, having never been assigned to read it in school or motivated myself to absorb its essential story. It’s going to be a long time before I have the opportunity to get it; I’m not upset about that in the slightest.

I went through school in a time and place that didn’t devalue objective education.1 I was assigned Catcher in the Rye, To Kill a Mockingbird, and The Lord of the Flies, among others of their supposedly obscene ilk. I read them and my teachers did their damnedest to impart their importance to us children. Since graduating, I’ve tried to learn more about the world than I was taught in those all too short classes, hence trying to get a copy of this graphic novel. I feel okay, both in my knowledge of history and in my ability to eventually get a copy of Maus. The latter is only a matter of time.

Let the children who have been barred from reading Maus in school get their own copies. They need it far more than I do now. Let them fill their bookshelves with that one, along with Fahrenheit 451, 1984, and Brave New World. Let them pass those forbidden tomes from backpack to backpack like an illicit knowledge trade. I hope they’ll openly read copies of the books during their break periods and lunches. If those are confiscated, then I hope they’ll download digital copies onto their phones and read them in front of those same overzealous administrators who don’t, nay, are incapable of understanding that censorship only emboldens people.

Banned books are not a new phenomenon. You can see an exhaustive (and exhausting) list of the Top 10 Most Challenged Books on the American Library Association’s site, broken down by year and stretching back decades. Every year, school boards across the U.S. decide to start thumping their figurative chests and crow about morality and “family values.” Every year, those who see through the veil of bullshit shake their collective heads and snap up copies of the books that are now taboo. Every year, book publishers get to see an uptick in their revenue thanks to the new bans, which is all that’s ever accomplished.

Strengthening some sycophant’s personal brand of “family values” is never really the outcome. It’s all just masturbatory fascism.

Make no mistake, these bans are never about safety. Removing access to knowledge is about fear and control. A ban on a book translates to “this thing makes me feel uncomfortable, so I want it gone everywhere.” Cue the cries of “Won’t somebody please think of the children?”

A sojourn into the reasons for some of these books being banned is a useful exercise:

  • George (now published as Melissa) by Alex Gino: For LGBTQIA+ content and a transgender character; because schools and libraries should not “put books in a child’s hand that require discussion.”
  • Something Happened in Our Town: A Child’s Story about Racial Injustice by Marianne Celano, Marietta Collins, and Ann Hazzard, illustrated by Jennifer Zivoin: Challenged for “divisive language” and because it was thought to promote anti-police views.
  • Prince & Knight by Daniel Haack, illustrated by Stevie Lewis: Challenged and restricted for featuring a gay marriage and LGBTQIA+ content; for being “a deliberate attempt to indoctrinate young children” with the potential to cause confusion, curiosity, and gender dysphoria; and for conflicting with a religious viewpoint.
  • The Hate U Give by Angie Thomas: Banned and challenged because it was deemed “anti-cop,” and for profanity, drug use, and sexual references.
  • Harry Potter series by J.K. Rowling: Banned and forbidden from discussion for referring to magic and witchcraft, for containing actual curses and spells, and for characters that use “nefarious means” to attain goals.

A noticeable trend starts to appear when perusing lists like these. Books must not depict white people in a bad light, no matter how accurate that light may be. Books must not include even vague references to non-straight or non-cisgendered individuals. Books must not challenge the police. Books must not include depictions or discussions about sex or bodies.

And, um, books also must not teach magic spells? Well, that one just makes sense. Without proper censorship, children across the country will start flinging multicolored (dare I say… rainbow) sparks at each other with wizard wands, befriending elf slaves, and endangering the lives of snowy white owls. Vile and disgusting!2

Doing any of these would, as in the case of George, “put books in a child’s hand that require discussion.”3 Discussion and thought are enemies to the people who enact these bans.

Looking at the trend, we can see what’s really at play here: Fear of the other. Couple that with an ego-driven need to horde all control and we’ve got banned books.

My heart sinks for the children of parents who enact and/or champion these bans. They’re going to be the victims of these malicious actions after the dust settles. I do not doubt that young people who work hard to think for themselves and rage, rage against the ignorance they grew up with will find and devour the books they were not allowed to read. But hatred is insidious and sticky, and I worry about those who never open a banned book because they don’t have easy access to them in their schools. They may end up growing into a person who bans Fahrenheit 451 and doesn’t understand how sad and telling that is. Hate begets hate.

Fear of the other is defeated by education. It’s a damn shame that teachers in counties like McMinn won’t be allowed to help stamp out that fear. However, a banned book is forbidden fruit, so maybe students won’t need a hamstrung teacher to show them how to prevail over fear. They’ll read those books just to stick it to the Man.

They’ll do it to rage.

UPDATE: I wanted to avoid drawing any parallels to Nazis when I first published this because of Godwin’s Law, but I’m unable to any longer. Books are being burned now. This has gotten far sadder, but I still implore you to rage against ignorance.

I encourage you to get Maus as it becomes more available. Be sure to purchase it from a place that supports local booksellers. Maybe get a few copies and pass some on to young people.

Please also consider getting books from the ALA's list of Top 10 Most Challenged Books of 2020 (their most recent):

  1. George (now published as Melissa) by Alex Gino
  2. Stamped: Racism, Antiracism, and You by Jason Reynolds and Ibram X. Kendi
  3. All American Boys by Jason Reynolds and Brendan Kiely
  4. Speak by Laurie Halse Anderson
  5. The Absolutely True Diary of a Part-Time Indian by Sherman Alexie
  6. Something Happened in Our Town: A Child’s Story about Racial Injustice by Marianne Celano, Marietta Collins, and Ann Hazzard, illustrated by Jennifer Zivoin
  7. To Kill a Mockingbird by Harper Lee
  8. Of Mice and Men by John Steinbeck
  9. The Bluest Eye by Toni Morrison
  10. The Hate U Give by Angie Thomas

  1. Strange, considering how consistently right-leaning the county I grew up in has been for as long as I can recall. Maybe I just had some kick-ass teachers. ↩︎

  2. But really, there’s a more salient problem: J.K. Rowling needs to work hard at being a better person. ↩︎

  3. An excuse that disappoints me to my core. Raising children is all about discussion. If you’re not talking to your kids, then what the hell are you doing with them? More to the point, why have them in the first place? ↩︎

∞

Despite my excitement for Dexter: New Blood at the beginning, the final episode left me wanting. I don’t know what it is about the show, but they can’t ever seem to stick the landing.

All that was left were hanging, tattered threads.

∞

After watching what some might consider an obscene, and I consider an appropriate, amount of Frasier, I’m convinced that David Hyde Pierce is one of the great physical comedians. His talents aren’t praised enough.

∞

Title Card: It Happened One Night (1934)

The title card for the film, It Happened One Night.

It Happened One Night was written by Robert Riskin and was directed by Frank Capra. It was released in 1934.

The film was produced by Frank Capra and Harry Cohn, along with Columbia Pictures. 🎞

∞

I did a decent job of avoiding spoilers for Spider-Man: No Way Home before its release. Now that it’s out, I keep stumbling over headlines giving away all the goods. Times are tough for people who are continuing to avoid theaters.

∞

The awful thing about cold sores brought on by stress is they do absolutely nothing to help decrease the amount of stress I feel. I’m surprised I’m not made of cold sores by this point.

∞

The only time I want to hear twangy music is when it’s being performed by white-haired comedians.

∞

All you people can have your flying and turning invisible superpowers all you want. What I choose is to be able to eat as much pizza as my mouth can handle without any adverse effects.

I want to be crushed under a mountain of delicious pizzas!

∞

Title Card: Mad Max: Fury Road (2015)

The title card for the film, Mad Max: Fury Road.

Mad Max: Fury Road was written by George Miller, Brendan McCarthy, and Nick Lathouris and was directed by George Miller. It was released in 2015. The titles were designed by Mocean LA.

The film was produced by George Miller, Doug Mitchell, and P.J. Voeten, along with Village Roadshow Pictures, Kennedy Miller Productions, and RatPac-Dune Entertainment. 🎞

∞

For Monroe, with love

A small white dog sleeping on a pillow.

My family got her on January 10, 2018, after my dad’s friend could no longer look after her. She looked bedraggled and was unsure of her new surroundings. She cleaned up nicely, though, and quickly made herself at home. After all, there has never been a shortage of comfy beds for dogs to lie on in our house.

My dad was thrilled to have her here; they were quick buddies. I still feel sad that he only got to spend sixteen days with her before he was admitted into the hospital in which he died. They should have had more time together.

When the rest of us got used to this fluffy new presence, we fell in love hard.

My other dog, Ruby, was not as thrilled. She can be a grump sometimes. They were always okay together, though, and that was enough. I suspect Monroe actually helped Ruby be an even better dog. For instance, Ruby sometimes has to be persuaded to eat food. Monroe’s excitement for dinner made Ruby excited about dinner.

I loved how she would greet me at the door whenever I arrived home. She was always curious to know who it was and always excited to see me return.

I loved how her tail wagged constantly. Whenever she was around someone who paid her the least bit of attention, it started swishing through the air like mad.

I loved how she would give a little hop when I slipped my hands under her tummy to pick her up, as if to say, “Oh yay, you’re going to hold me now? Let me help you with that!”

I loved how she would get random bursts of playful energy. We would throw her stuffed toys across the room and she would gallop with determination and glee to retrieve them. She would shake it all around, sometimes flinging it up in the air, while bringing it back.

A small white dog chomping on a stuffed tiger toy and looking into the camera with large, sweet eyes.

I loved the way she would twirl in endless circles when it was treat time. Like a tiny whirling dervish, she would spin a path to her snack spot.

I loved how she had the snore of a dog five times her size.

I loved how she would paw at your arm whenever you were nearby and not scritching her back. It was the duty of the house to never stop petting her.

I loved how she had the loudest feet for such a tiny dog. They looked like the feet of a character from a Dr. Seuss book and they would PAT-PAT-PAT wherever she went.

I loved the sound of her tiny slurps when she drank water late at night. She would get her fill and then amble her way back to the end of the house to sleep.

I loved how she would incessantly lick every finger, hand, or paw within reach. She would have licked her tongue down to nothing if she could.

I loved how fiercely loyal she was to her home and family. Spotting a person or other animal through the kitchen windows would always elicit a flurry of (admittedly cute) growls or barks at whoever dared trespass on her turf. She kept us all safe.

I loved how she would flop her head into my hand with such force whenever I rubbed around the base of her ears. And I loved how those ears flopped up whenever she quickly raised her head.

A small white dog lying in a bed who has just flipped up one of her ears in a cute way.

I loved how she could always find the warmest and softest spot in the house.

I loved how interested she was in the world around her. She wanted to inspect anything within reach of her nose—cardboard boxes, food containers, bushes. I would have her check out anything I had in my hands, waiting for her approval.

I loved how she would frequently cross her paws when she lied down. It was rarely accidental. She looked like a fancy pup that way.

I loved how she was always happy to just sit with us. She liked being with people, even if nothing was happening. She would lie in one of her many beds and watch us work or make dinner (when she didn’t quickly fall asleep, that is).

I loved the way she would let us know that it was about dang time whenever we fed her. She would lift her furry, impatient face into the air and say, “RARF RARF RARF RARF!” She would then vacuum up her food with exuberant abandon.

I loved how everyone loved her. She brightened the lives of anyone she met.

She left us on January 17, 2022. She was the sweetest dog and made my world immeasurably better. I’m grateful we had the opportunity to make her a special part of our family, as well as give her the most comfortable and loving home a dog could ever have.

I love and miss you, Monroe. So much. ❤️

A small white dog lying on her bed underneath an end table and looking at the camera.

∞

Significant portions of my days consist entirely of adding films to my Letterboxd and Criterion Channel watch lists. I fully expect to reach a point where there’s more in those two things than I’ll ever be able to see in my lifetime.

∞

If older movies are to be believed, everybody alive before the ‘60s was constantly, constantly kissing people they just met. Extra points if that new person was some sort of sexy scoundrel.

How did anybody get anything done when they were passionately locking lips all the time?

∞

Title Card: The Last Picture Show (1971)

The title card for the film, The Last Picture Show.

The Last Picture Show was written by Larry McMurtry and Peter Bogdanovich and was directed by Peter Bogdanovich. It was released in 1971.

The film was produced by Stephen J. Friedman and Bob Rafelson (who was uncredited), along with Columbia Pictures and BBS Productions.

Bogdanovich will be missed. 🎞

∞

In your Account page on Netflix,1 there’s an option to “Download your personal information.” It’ll provide you with many files, most of them in CSV format, of just about everything you’ve ever done with the service.

It’s fascinating to see your complete history all collected in one place. It’s also a little terrifying to see how much of your activity is being tracked and stored by them. This certainly isn’t unique to Netflix, but is just something I happened upon recently.

A quick sampling of the exhaustive information they gave me:

  • What I’ve put on my watch list, going back to 2016. I’ve been a subscriber since 2012, but I guess 2016 is when they started collecting this data.
  • My entire search history, i.e., every single word or phrase I’ve ever used to look for something.
  • What devices I’ve used to watch their content.
  • What IP addresses I’ve used to access their site and content.

It’s remarkable. A lot of that information is necessary to serve me the recommendations and content I continue to enjoy. I don’t know that they’d be half the company they are without it. However, it’s always surreal to see proof that my personal activity is being stored in a place that I have no control over.2

  1. I’m assuming that this is the same for everyone. However, I live in California and there are statues like CCPA and CalOPPA that may come into play here. Or not, and it’s available to everyone. ↩︎

  2. Likewise, I bet there’s still information about me stored on servers owned by Facebook, despite me having deleted my account years ago. ↩︎