AuntiePam

@Rinaldo, you're right. And Joseph Cotten is my boyfriend, don't forget that. I am quite possessive. 😉 I watched Interiors. Not a big Woody Allen fan, although I liked Purple Rose of Cairo. The movie probably deserves several viewings to property appreciate, but I've never been able to relate to people like that -- so self-involved. They think they're so thoughtful and caring, but what good has all that introspection done them? Calling Pearl a "vulgarian" because she has a more simple understanding of the play they were discussing. What was that play anyway? I loved that she served meatballs and pigs-in-a-blanket. I did like how their homes and clothing and the decor reflected the banality of their personalities (because duh "Interiors") -- Well, maybe not banal, but certainly not colorful or particularly interesting. I'll bet they've never eaten food from a street vendor. This is one of those movies that I did kinda like but I probably missed the point.

I felt bad for her too. In her place, I would have confronted the son and demanded return of the vehicle. If that didn't work, I'd go to Hertz and ask to cancel the contract. They'd probably refuse, since they didn't have the vehicle, but then I'd cancel the credit card or account that the payments were coming from. Could she have gone to a tow company, shown them a copy of the Hertz contract, and had the van towed back to Hertz?

@Charlie Baker, thank you! I found a copy of the book at Amazon for $6. Looks like some more great reading in store. I wish I'd known about that one before spending $14 on a 30-page book. Some of my favorite books are those where I saw the movie first. I always check the credits, especially on older movies. "Based on the novel by . . . " has led to some wonderful reading experiences.

Edie was on Seth Meyer last night, and she's quite the charmer. Makes me appreciate her acting even more, because her facial muscles don't even seem the same. Here's a link to the interview, where she talks about filming an LA show in NYC, and how she and her daughter watch Dr. Pimple Popper together --

Well, as it happens Stagecoach is based on a short story -- very short, 29 pages in the edition I found at Amazon. Characters and actions are added, deleted, changed, etc., but it's all there, if a bit less straightforward. I'll be reading more of Haycox's work. I really like his writing style. The story is probably half character and half setting. Here's the first paragraph: This was one of those years in the territory when Apache smoke signals spiralled up from the stony mountain summits and many a ranch cabin lay as a square of blackened ashes on the ground and the departure of a stage from Tonto was the beginning of an adventure that had no certain happy ending. The intro states that Ernest Hemingway was one of Haycox's fans. I haven't read a lot of Hemingway but I can see where he might be a Haycox admirer.

I got the same impression, that they were auditioning for their own reality show.

I don't care for that one either. I think it's because they're so rushed, frantic. Makes me nervous just watching them. Relax. Take a few minutes. Maybe get up a bit earlier so you don't have to be in such a hurry. I'm liking the struggling actor in the Liberty Mutual ads. I don't think this is the last we'll see of him. He's got a bit of a David Boreanaz (sp?) vibe.

I thought that JJ was getting through to the pit bull owner, but nope -- in the hallterview the defendant says that claims pit bulls are dangerous aren't "substantiated". Woman must not read the newspaper, ever. There was another case just last week, in Indiana, where a pit bull killed a month-old baby. The dog had gotten excited while playing with another dog, and when the owner separated the two dogs, the pit bull went after the baby. A neighbor across the street has a pit bull, not a year old yet. The dog seems really well trained -- won't leave its yard, comes when owner calls, etc. But I still won't let the grandkids play outside if Stella is out. It's just not worth the risk. We don't even let our dog Sadie (see avatar, a golden-doodle) get close to babies. We're more comfortable when the kid is old enough to move away from the dog, but a helpless infant, nope, not even Sadie. You just never know what any dog is going to do.

Thank you for the explanation. I was letting my experience with other Carradine roles color my impression of this character. I saw him as smarmy and ingratiating and maybe even a bit predatory toward Mrs. Mallory. And I prejudged him because of his judgment of Dallas. It's difficult to put yourself in a different mindset when viewing any movie, and it's even harder when the movie is 80 years old, after so many years of social progress.

I choose to believe that Ringo and Dallas lived to enjoy hordes of great-grandchildren. This was my first complete viewing of Stagecoach. It's pushed Shane aside as my favorite western. I enjoyed every minute, especially Andy Devine's comedic character bits. That fit more naturally than the humor Ford attempted in The Searchers. Was it unusual for a western to be nominated for Best Movie in that time period? Westerns didn't get much respect until Clint Eastwood came along, it seems. Did Ford know that Wayne was going to be a huge star? How else to explain that first shot of Ringo, the close-up. It's almost post-modern, isn't it? I'll be reading the book now. I'm curious about John Carradine's character. He seemed to be in the movie as someone not to like, someone who could naturally not survive the attack and we wouldn't care that he died. Perhaps the novel fleshes him out a bit.

I'm at the part in the book now where Helen and Margaret are in a discussion group, and the discussion is about how best to help the poor. Do we give them books, or clothing, or a library subscription, or food? God forbid we give them money directly. Or if we do, do we give them a little or a lot? There's little consideration of what the poor person feels, and not even an assumption of what they might do with whatever they're given. It's as if once the gift is made, their responsibility has ended. Leonard might have accepted a small amount of money from Helen -- something he might be expected to repay. But certainly not 5,000 pounds.

Not so's anyone could hear him anyway. 😉 But if he's honest with himself, he'll see the similarities. Yes, I did recognize him. LA Law was a favorite. He's aged nicely.

I don't watch any of the other procedurals so I'm fine with the formula here -- it's new to me. Except that I thought the mayor was going to tell Tommy to watch The Wire for an education in crime, not The Godfather. But as stated above, The Sopranos would be good too. I have a lot of respect for Edie Falco as an actor but I really didn't like the characters of Carmela Soprano or Nurse Jackie (only watched the first season of NJ though). It's early yet but I like Tommy. Her vulnerability makes her sympathetic, but she's also strong and confident. I like the minor characters, and I like that the dialogue was quick and snappy. Also like seeing Adelaide Clemons from Rectify -- but I don't recognize anyone else.

Maybe Forster is saying that the Leonards of the world are doomed, or that they were doomed at that time and place. The intro to my edition has the three sets of protagonists as three aspects of British society in that time period. The Wilcox family are "narrow, unimaginative and concerned with property, money, and social position." The Schlegels "devote themselves to music, art, books, and ideas. They are sophisticated, clever, idealistic, and liberal." Bast is a third segment of British society -- "unleisured and insecure". The question Forster posits is "Who shall inherit England?" Well, it sure wasn't the Basts.

Yes. Chapter 10 ends with Margaret and Mrs. Wilcox at the train station, and Mrs. Wilcox leaving with Evie and Mr. Wilcox. Chapter 11 begins with the funeral. So no more interaction than what we saw in the show. At least so far -- maybe later in the book we'll hear that Margaret visited Mrs. Wilcox in the nursing home. Was that alluded to in the show? I can't remember.

I can't deal with live-audience sitcoms, so I'm out too. When actors are waiting for laughs, it ruins the jokes. Also, I've never gotten used to Fran Drescher's nasal voice. I was hoping she'd tone it down. And the wife here seems to be riffing on Penny from BBT. That's weird -- I didn't mind the live audience on BBT. Maybe the jokes were better, or the characters were more interesting.

Not confused but a question: The new Domino's Risky Business commercial, the guy who delivers the pizza -- who is that? He looks like Booger from Revenge of the Nerds. He definitely looks like somebody. A google search brings up lots of info on the guy doing Tom Cruise, but that's all. Anyone know who the delivery guy is?

I'm reading the book now, and wishing that I hadn't deleted the show already. So far, it's remarkably close to what we saw. I'm only posting to say that if there's anything anyone would like me to look for or double-check as I'm reading, for whatever reason, let me know and I'll keep a lookout for it. Loving the book, by the way. It's my first Forster -- I had no idea his writing was so delicious.

The Bachelor Party, 1957, Don Murray, E. G. Marshall, Jack Warden -- written by Paddy Chayefsky and directed by Delbert Mann, so -- ya know. I have to think that Matthew Weiner had this movie in mind when developing Mad Men. There have been plenty of mid-century angsty movies with middle class white men and women wondering "is this all there is?" but this one could have been the template. I liked it a lot. All the characters were ultimately sympathetic, even though their behavior was often selfish. They didn't have much self-knowledge but at least they were asking questions, considering options. The dialogue was natural and the acting was top-notch. The locations -- particularly the subway -- were also natural. Whatever cameras were there -- well, they couldn't have been very obtrusive. It felt really -- what's the word for 'natural -- real life'? The word will come to me later, when I'm trying to sleep. Cinema verite -- that's it. Oh, and seeing a young Nancy Marchand (Livia Soprano) was icing on the cake!

Did Nora understand that those chips represented money? The way she seemed to be donating them to other players, I wondered. For a minute I thought she was going to win a lot of money, but it makes more sense for her to get kicked out. Love grandma. I get the feeling that she's always been strong and feisty, that it isn't just the old lady trope we've seen so often.

Fun episode, I thought. Very imaginative, especially when Nora was in the Death House. I thought the ending might have been different, that Nora had got so much enjoyment out of her work that she would take over the business. I wouldn't mind seeing her try other jobs, but I hope the show doesn't become a job-of-the-week thing.

Emma, 1932, Marie Dressler as Emma, a woman who has cared for a widower Frederick Smith and his four children for 30+ years. The movie begins with the birth of the youngest Smith child, Ronnie. Mrs. Smith dies in childbirth and baby Ronnie is in danger until Emma gives him that famous little smack on his bottom. They have a bond that doesn't exist with the other children. Anyway, fast-forward 20 years. The children are grown and Emma is preparing to take her first ever vacation. Mr. Smith helps her pack and takes her to the train station, and ends up proposing marriage. He's lonely, she's lonely, etc. Emma agrees, they marry, and the three oldest children are scandalized. Ronnie thinks it's wonderful. Mr. Smith -- did I mention he was wealthy? -- shortly dies of a heart attack. He's left all his property to Emma, knowing that the kids are too spoiled to inherit all that money, and he knows that Emma will continue to take care of them. Emma doesn't want the money but before she can tell the kids that she's declining the inheritance, they turn on her -- big time, it was shocking. Except for Ronnie, of course. My problem with this plot point was that I had to believe that Emma raised three very selfish, spoiled kids, and one (Ronnie) who was the opposite. Of course kids raised in the same house can turn out to be very different, but these kids were more than just different -- what they ended up doing was just plain evil. I did like the movie. Dressler was wonderful, and there were a couple of comic scenes that had me laughing out loud. The other actors didn't get much screen time but what they had was fine.

That does sound weird but if it's a big window and it's close to where the U-Haul was parked, I can see it. Especially if they wanted to avoid walking through the house and encountering the plaintiff. My DVR recorded the same case twice. There was a description of the tattoo case, but it wasn't shown. Sounds like I didn't miss much.

I didn't stick with Sanditon so I can't speak to that, but I really liked Howard's End. I'm liking Vienna Blood too, but I'm finding some of the dialogue a bit pedestrian and expository, especially from the minor characters. The problem is (as others have stated) we've seen all this before, so the dialogue will tend to be cliched as well as the plots. The psychologist points out what everyone else has missed, the obvious perp is never the perp, etc. One nice difference here is that the person in charge seems open to new ideas, new procedures.

Did they have sex just that one time then? If so, that's some bad luck right there. So she's hiding from Leonard as well as from her family? I can see her not wanting Leonard to leave Jacky, even though Leonard and Jacky aren't married. These people are fascinating. I could have spent a lot more time with them.