Bastet

I don't know much about Winnie the Pooh, but I've always understood Eeyore to be rather gloomy - sad and depressed about the state of things, not annoyed. So I don't think it fits (but I voted "Whatever" because I've seen plenty of thread titles randomly changed and never found them to be an improvement, but I don't particularly care).

Me too, especially Maureen Garrett; since she, Ellen Parker, and Maeve Kinkaid had so much fun sharing that big (for the tiny studio) dressing room for years, I would love to hear the three of them reminisce. I still haven't watched the one with Maureen Garrett, Jerry VerDorn, Liz Kiefer, etc., but I will definitely download this one, too, and watch it someday. Thanks for the heads up.

Oh my, I seriously hate the challenger in a season one episode that just aired, where some total dickhead finished up his first-round eggplant dish with a couple of minutes to go and went over to his challenger's station to hover behind her like a psycho and proceeded to make obnoxious, dismissive gestures as the round ended. Then he chose "a burger" as his signature dish. Against Bobby Flay. I know it's season one, but come the entirety of hell on. I disturbed my cat cheering when his dudebro ass lost.

Eric was funny in the first game of the Million Dollar finals. I did not have a very good game, often out of my depth with these contestants, but I was surprised Gordion was a TS, with "to be or knot to be" in the clue and Brad clearly misspeaking. Swan Lake as a TS was a bit surprising, too. I'm not surprised FJ was a TS, but I am surprised no one guessed something with "quint" in it.

Just as the re-airing of the Million Dollar Masters Tournament reminded me how much I liked Claudia, it reminded me how much I disliked Bob - his ridiculous over-the-top performance as his FJ answer was about to be revealed in the semi-final game, acting like he hadn't wagered enough to win, was the last nail in the coffin; can't stand him. I retroactively wish the finals had been between Brad, Leslie, and Claudia, instead of Brad, Bob, and Eric. I don't remember how Brad's win played out over the finals, though, so I look forward to the next two nights.

Jesus fuck, I had it in my head - having not watched from the beginning in real time, instead catching up in syndication and joining in progress several seasons in and thus probably never filling in all the gaps - that Angela got worse, more cartoonish, as time went on. But, no. She's horrible from jump, yet the show asks us to accept her as endearing. I was just going around the dial and came across the beginning of season two, in which Jane graciously invited Angela to stay with her until the house sells (why Angela does not just stay there until it does is not logically explained) -- and quickly comes home to find Angela has splattered paint samples above her mantle. It's shit the ex, who never threw anything out, left in the basement, so Angela decides Jane should pick one of the four colors as her new paint color (at best, let's say she's proposing an accent wall). Jane points out this is her home, she's happy with it as is, and Angela throws a full-on fit and storms out. AND JANE KEEPS GETTING TOLD HER MOM MEANS WELL when she relates this creepy-ass incident to her friends/co-workers. So she feels guilty and apologizes. The hell?! This is what carries on throughout the series. It's gross.

Any favorite coconut cookie/bar recipes? I hate coconut, but my mom loves it, and her birthday is coming up, so - since she doesn't want anything other than my presence (which she always says but I ignore), most stores are closed to browsing, I'm stressed the fuck out and not in the mood for online shopping - I'd like to make a For Mom Only edible treat (my dad hates coconut, too) to take with me as a gift.

That reminds me of a peeve of sorts: When people ask me how hot something is. That depends on your own taste; I love spicy food and things have to get fairly far up the Scoville scale before I say "that's hot", so if I say it's medium, but they're sensitive to heat level, it'll be hot to them. If I made it, I can tell you what ingredient(s) and how much is in there (and if I'm making things for people I don't know like spicy food, I make it milder), but if we're at a restaurant? For my three closest friends, we've eaten together so many times (you know, back when one could do such a thing) that if I'm familiar with the dish I can say, "It'll be too hot for you" or "You'll be fine", but anyone else I have no way of making that judgment call.

I just read this interview with Lorraine Toussaint from early 2017, in which she said the various entities were arguing about who owns the rights to this show (and thus who could sell it to a streaming service, syndicator, etc.). Boo. It's a good interview; here's the part about Any Day Now: And I'm going to link to an article from that same time period that I posted a couple of years ago about just how damn revolutionary this show was and how it needs to be watched again today.

It seems like they're getting better and better about that; I read an article from earlier this year that it used to be 6-8 minutes for the fast ones, as opposed to at least 15 on the typical ones. But now there are fast-draining tubs that can take less than four minutes, and even a couple of really high-end models with drain pumps that can drain in about 90 seconds. (The "can" is because, of course, the house's plumbing may result in slower times than what the tub's plumbing is capable of.)

I recently got back into my re-watch of this, and am about halfway through season two. I had forgotten what a realistically annoying teenager Kelly is. She's totally selfish, and she's such a dumbass, changing her personality and interests every time a new boy comes along. She's utterly infuriating, but she's real. Also, the two-part "It's Not About the Butter" is great, but thoroughly depressing to watch, because not one goddamned thing has changed in the 21 years since it aired.

I'd assume not all the way out, but obviously below the threshold of the door, and that's, of course, not all that high. I think that's the big downside to them - the time you spend sitting there waiting for them to fill or drain. I know you can get one with a heated seat, so I guess if you dried off as it drained, it wouldn't be terrible. (Or at least worth it for the safety if one needed it and could afford the extra ease, all-in-one features, and better look rather than installing various modifications over a regular tub.)

C.J. explained it right there in the scene. Twice. Toby: He likes the work that you did with that girl's group with the stupid name. C.J.: EMILY's List? Toby: Yes. C.J.: "That girl's group with the stupid name"? Toby: Yes. C.J.: EMILY's List -- Early Money Is Like Yeast. Toby: Yeah. C.J.: It helps raise the dough. Toby: I get it. C.J.: They raise money for women candidates. "Early money is like yeast, it helps raise the dough." For the candidates. Toby: I really do get it. Receiving major donations early in a race attracts other donors, but most of those initial, big donations go to male candidates. Thus, EMILY's List was born (in the mid-80s, I think, although I didn't hear about it/become a donor until the early '90s) to help jumpstart funding the campaigns of pro-choice female Democrats.

Crystal and Roseanne: -Lonnie told me about Becky's unfortunate accident; I'm so sorry. -Yeah, we're thinking of having her put to sleep. -I brought Becky a card [handing over a seriously-oversized envelope]. -Well, how thoughtful ... and strange. [Crystal leaves, and Dan enters] -You know, they say they make a card for everything; what do you wanna bet? -[Dan opens and reads the card] I'll be damned. Yes, so very Crystal! And she drives me nuts, but always has these little moments that amuse me.

In justifying his desire to steal their stuff, Slider describes the household as "the kind where they have, like, ten of everything" so "there's plenty to go around". (Like in "False Pretenses" where Tyler starts his theft spree by taking one of his hook-ups' many watches, that to this day the guy probably doesn't even realize is missing, but that paid Tyler's rent for the month.) And the Casses are just irritated that they have to fill out paperwork and get new TVs; it's not any actual hardship for them to have lost their electronics. (Thad isn't even upset about his schoolwork [on his laptop] going missing.) But Alice didn't share that attitude; she didn't object to his plan out of fear she'd get fired, but that she cared about Joanna and didn't want him stealing from her. Yeah, if she'd come across it in a thrift store, remembered Alice saying she's saving up to go to beauty school, and bought it for her, that would be a thoughtful gift - except Joanna would never be in a thrift store. So she deliberately bought it, but used. When Rusty contacts her as he begins his quest to discover Alice's real identity, she wants nothing to do with it, so even after knowing how and why Alice died, she doesn't care enough to take a few minutes to answer "I don't know" to questions about the poor girl. I think she liked Alice on a very superficial level, while they were in the house at the same time - Alice was polite, hard-working, and spoke English. It was all about approving of her as good help, she didn't care about her as a person. So I agree the hair cutting kit, however it came about, was at least as much about patting herself on the back for a good deed to the disadvantaged as it was giving Alice something she could utilize. (Okay, yes, the kit is a necessary plot device for them to realize Bug was involved. But since they went ahead and wrote in this one seemingly thoughtful action for Joanna Cass, I'm prone to analyzing it.)

I wasn't able to properly concentrate on tonight's episode, so I don't know the specifics of how Marbles wound up with VRC from Iraq via the other rescue, but what a sweetie he seems to be - a chill, goofy, friendly attitude other than at his young age having a high play/prey drive (LOL at M2 keeping him on the leash for testing with her son, and then letting him loose to nip at her when she was the one running around) and thus needing to avoid families with kids who are still in the running around stage. And what food fortune Parker, the dog who went on an adventure because her owners forgot to lock the doggy door when a section of the fence was missing, was spotted by a VRC employee! The owners should put an ID tag/collar on her just in case, so that if someone who wouldn't bother with/know to the scan found her friendly self, they could easily call and say "Your dog's out; I have her." I like the adopter's attitude; he's had so many different dogs, he clearly just wants a larger dog he bonds with, rather than having a set of requirements. Sonrisa looked older than five, but if they got her six years ago and they now estimate her to be 5-1/2, she must have been obviously young when they got her, and she just has a speckled white muzzle that looks like an old lady grey. How great for her to finally have a home after that long at VRC. With her dog reactivity, I wonder if that little doggy peephole still exists in the fence, but hopefully because he's mostly home she has plenty of redirection and reassurance and will in time not care if a dog is being walked down the sidewalk and can indeed happily watch the world go by.

I love the blow to Jack’s ego that Sharon’s failure to file for divorce has, for a while now, been largely pragmatic; of course he responds by convincing himself it has to be about another man instead. And of course he spills the adoption beans to Rusty after Sharon said she was getting her ducks in a row first. But the resulting scene between Sharon and Rusty is one of my favorite parts of “Jane Doe #38”. Like the separation/divorce, the adoption is a blend of emotion and situational practicality – he doesn’t need to be her son for her to love him as a mother, but now that she’s legally just his roommate, he does need to be her son for her to retain the parental rights she had as his guardian. It’s so beautifully telling that Rusty already feels like he’s one of her kids despite never having thought about the adoption scenario; while Jack refers to Emily and Ricky as “our real children” when asking Sharon how they feel about this, when Rusty asks the same thing of her, he refers to them as “your other kids”. While in season four I have many moments I wish I’d never heard of “Alice Herrera” (thanks to the damn Rusty Beck, Super Journalist storyline), I continue to love this case on its own. Those increasing pictures on the board throughout – just the girls who match Alice’s description and were actually reported missing add up to that many kids - and then you think about the girls who don’t match, the boys, and all the kids never reported missing in the first place, and the staggering number of homeless teens is a smack in the face. Alice, Bug, and Slider illustrate the more typical fate of kids who were either abandoned or ran away because of what was going on at home, and remind us (and him) how very fortunate Rusty is to have lucked into a happy ending. It’s always so poignant to me that Alice died protecting the property of a woman who’d never even bothered to learn her last name. That the homeowner bought Alice a hair-cutting kit is on the one hand a touch of depth to a very typical character, but on the other is so out of step with the rest of her; I kind of like it (that she’s not a cartoon) yet kind of wish the kit had been something she had around the house, left by someone else she’d discarded, for consistency with who she – and the entitled little shit she raised – is. Even back when he was frequently insensitive, Andy was very affected by young victims (I figure that’s rooted in his failures as a father), so it makes sense that a more mature Andy, who’s actively rebuilding relationships with his kids, would be the member of the squad most upset by this case. I love his disgust prompting Andrea to take a second look at Slider’s callousness and change her mind on the charges, and everyone – including Andrea and Dr. Morales - not just attending but dressing for the day in funeral clothes for the service he arranges. My one, minor, quibble is that Buzz is even more annoying than usual in this one; Mike simply points out – in response to Provenza’s crime scene speculation that she OD’d since it’s a rich neighborhood in which kids could get their hands on anything - that her clothing and condition indicates she’s not from around there, and Buzz gets his typical indignant smirk on to say, “That doesn’t mean she belongs in the trash.” No shit, Sherlock; no one implied that, as you well know after ten years with these people. I do have one additional, continuity, complaint, but one that may not actually exist given my shitty eyesight -- the damage Julio inflicts on Slider’s car by shooting at it doesn’t seem visible when they surround him in the parking garage, but we don’t get a close look in the latter scene, so the bumper and rear window may in fact be damaged and I just don’t see it. Can anyone else?

It was sad to learn about India's death earlier this year. For the FJ in her quarterfinal game of the Million Dollar Masters tournament, like probably a great many people, I had The Right Stuff immediately, but I spent so long flailing for the second film before figuring the profession was incidental and I should focus on the year and thus coming up with it, I know I would never had been able to write down Terms of Endearment under game conditions. They cut out Alex reciting the list of those who'd be in the semi-finals. Does that mean we're not going to continue with this tournament in reruns, and next week will be on to other "vintage" episodes?

Ray Price also had an "I'll Be There" (which a shit ton of artists went on to cover) back in the '50s. I thought I was going to add Dolly Parton & Sylvester Stallone (in Rhinestone) to the list, but I double-checked, while "I'll be there" is in the chorus, the title of that one is "Be There".

I hadn't seen that one, but figured it was an "aunt problem" like the "Ratt" and "clogging" problem commercials, which I like, so I went looking. Yep, like this one, too. (The only thing that gives me pause is that all the aunts are overweight; I like seeing such women on my screen, mind you, but it's problematic that when the people on this ad campaign thought "stereotypically annoying older female relative" they envisioned exclusively women on the heavier side.) And Marianne Muellerleile - a character actor I've liked in many things - is one of the aunts.

She was diagnosed with PTSD, and had severe panic attacks. She attempted suicide twice. At seventeen, she had a baby, and moved in with her boyfriend. That was the last update I read.

Me too (actually I still have two VCRs, from back when I recorded tape to tape). I'm very (very!) slowly transferring the VHS I want to keep that isn't commercially available onto DVD-R, so I still have it when the VCRs quit working.

I showed this film to a friend of mine several years ago, not long after I'd watched it for the first time (I wasn't sure I was up to marinating in it again so soon, but she didn't have Netflix and wanted to see it), and he'd barely appeared on screen when she turned to me and asked something along the lines of "I'm going to want to punch him in the face, aren't I?" Oh, yeah. That he was raising daughters made his horrifying attitudes all the more disgusting. I flat-out hate that man. And I hate even more he's just the one on camera; he's far from alone in his thinking, including among those sworn to protect victims. I'm going to need some distance from Daisy's death to watch this again. I remember an interview after it came out, in which Daisy talked about the difficulty in seeing her story combined with Audrie's knowing how easily her (and that of Paige, her best friend also raped that night) story could have had the same ending as Audrie's - indeed, both Daisy and Paige had already attempted suicide at least once in the interim. As I said in the Documentaries thread, so many people are responsible for Daisy's (and Audrie's) deaths - desperate relief came via their own hands, but their numerous attackers (the rapists, those complicit in the rapes, those who passed it around as entertainment, and those who bullied them for saying "this isn't right") caused it - and I doubt any of them, especially that loathsome sheriff, feel any shame over it. Legally, neither death was a homicide. But, morally, they both were - rape and its resulting further misogynistic abuse can kill, immediately or days, weeks, months, or years later. When suicide is the result of severe, chronic depression, we (well, far too few of us, but some of us) understand suicide as the manner of death but depression as the cause. It's the same idea here - suicide was the manner their deaths, but the cause was what was done to them those two horrible nights and afterward. But no one will ever answer for it - not legally, not by reputation, and likely not even in the form of personal demons. It's rape culture at its most extreme. So, as wonderful as I find this film, and encourage anyone who hasn't yet to watch it, I'll need some time before I can do so again.

I fall asleep to a disc most nights, some of which I have watched many, many times. I have yet to have one wear out or get lost. I watch streaming, too (something that wasn't generally true until this year), but anything I really love and plan to watch again and again, I want on DVD/Blu-Ray.

Exactly; white female actors have long been elevating the material written for their characters by white men, using the experience they live (and the writers don't) to make what comes through on screen far more real than what was on the page (often having to flat-out tell the writers/producers/directors - and hope they're collaborative, not defensive, diminishing just go say the lines, sweetie types - my character wouldn't say/do this; it's not how women experience it). The same is true with male characters of color, and especially female characters of color -- it's always beneficial for the actor and character to "match" in the ways we're talking about, and that's heightened where the starting point is often that the character and writer don't match.