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Tag Archives: Ontario
Profits in a Time of Pandemic
May 7, 2021 Wayne K. Spear
The Ford government's corruption is the product of conflicts of interest that are almost too boring and commonplace to merit comment
✎ WAYNE K. SPEAR | May 7, 2021 • Current Events
Precisely when ontario's long-term covid-19 commission issued its final report, the Premier restored Norm Sterling to a political stage the former Minister of Environment and Energy had vacated one decade ago. You'll recall Mr. Sterling in his connection to the Walkerton Tragedy, where the combination of carelessness and a late-April-to-mid-May rainfall contaminated a township's water supply and produced over two thousand illnesses and six deaths. The Walkerton Inquiry introduced themes of negligence and under-resourcing which also returned to the political stage this week, in the work of a COVID-19 Commission whose chief co-counsel, John Callaghan, was a participant in the Walkerton investigations. Welcome to Ontario health crises, where it's déjà vu all over again.
Those who back in the day referred to the Mike Harris cabinet as Ministers Against — the Minister Against Education, the Minister Against Health, and so on — were not surprised to learn that the man chosen by Premier Ford to preside the Greenbelt Council was against the Greenbelt Act. Or, to put this in a more precise way, against the idea of a Greenbelt Act which designates lands as protected in cases where someone wishes them to be expeditiously undesignated as such. This business of the expeditious redesignation of lucrative lands brings us to controversies over the Premier's recent and, in the words of David Crombie, "grossly expanded use" of Minister's Zoning Orders, or MZOs, as well as to developments concerning development: chief among them the proposed 400-series highway running fifty-two kilometres northeast from the 401 at Halton to the 400 at Vaughan. The NDP Finance Critic, Catherine Fife, has accused the Premier of operating under cover of Covid for the benefit of party donors, a charge which arrives as the evidence mounts of the government's cosiness with the real estate, construction, and property management industries.
The leap from long-term care to MZO may seem as long as the GTA West corridor, yet both have a connection to Vaughan. The RCMP confirmed an investigation this week of a pro-Ford astroturf and propaganda outfit calling itself Vaughan Working Families, registered in 2018 by Vaughan Health Campus of Care, whose Chair Michael De Gasperis is a director of TACC Developments, a CEO of Arista Homes, a PC donor and fundraiser, and a warm acquaintance of Stephen Lecce. Another LTC outfit connected to Vaughan Working Families, UniversalCare Canada Inc., has brought a thirty-five-million-dollar lawsuit upon itself as a result of Covid-19 deaths at the Villa Colombo Vaughan Di Poce Centre, named after the real estate developer John Di Poce. (It used to be harder to put your name on these buildings. The recent proliferation of hospital wings and health and patient care centres named after developers is another Ford gift to donors.) In fact, of the developers close to the government, Di Poce owns the most acres along the proposed 413.
Throughout the pandemic the Ford who ran for Premier as a plain-folks populist ignored the needs of frontline and essential workers, denying them paid sick leave and front-of-queue vaccinations and sensible policies with their interests uppermind. His cuts early in the administration made Ontario more vulnerable to crisis just as the Harris cuts had done decades earlier. The rules he put in place were too often murky and at odds with science. To all appearances, the Premier improvised as he went, showing no evidence of learning along the way. In the absence of political leadership, ordinary citizens turned to arrangements like Vaccine Hunters Canada to obtain their relief. Ford didn't create the underlying conditions but he was slow to act when, as the Commission final report puts it, "the pandemic shone a spotlight on a reality that existed long before COVID-19."
According to the findings, the province's long-term care homes had been neglected and underfunded for decades by successive governments, suffered severe staffing shortages and lack of training, were easy targets for the uncontrolled LTC outbreaks that were "among the worst in the world," and received little notice until "a parade of sickness and death" made it impossible to ignore the long-standing problems. In a May 3 QP Briefing interview, John Callaghan quoted from the notes of a Canadian Armed Forces member who witnessed the deaths of twenty-six LTC residents from lack of "water and a wipe down." In the meanwhile LTC operators like Extendicare (now involved in a $200-million class-action lawsuit) issue dividends. Chartwell has praised its pandemic performance and awarded its executives bonuses that are larger than those of the year before, on top of salaries exceeding one million dollars. A spokesperson for the man who made all of this profiteering possible, by engineering the deregulation of Ontario's long-term care industry, said that "Mr. Harris' drive and passion to provide great services and quality care to our aging population was one of the reasons he was asked to join Chartwell as chair in 2003." Harris is estimated to have profited from his eighteen-year association with Chartwell to an amount of $3.5 million. One man's tragedy is another man's comedy.
Now some have awoken to the fact that the road to hell is apparently paved with drive and passion. Canada's Shareholder Association for Research and Education urges that Mr. Harris (who in any case is expected to step down next year) should not continue as Chair of Chartwell Retirement Residences, citing concerns about the safety of customers and employees, as well as "significant legal, regulatory, financial and reputational risks." Now that sounds like the Mike Harris I remember. There have been calls for the resignation of Premier Ford as well, most notably by David Moscrop in the pages of the Washington Post.
Whatever the outcomes, there are lessons to be learned, the chief among them that Ontario does not learn lessons. So long as negligence and nature are provisioned enclaves in which to collude unimpeded — and in this province, they are provisioned as a matter of custom — we will have more Walkertons and more LTC disasters. The Ford government is not the first nor the last corrupt government to rule this province. Its apparent incompetence is the product of conflicts of interest that are almost too boring and commonplace to merit comment. Many have suffered this past year, but we have not been in this together — not those collecting the dividends and bonuses, nor those placing private profit above public interest, nor those who claim responsibility without consequences, nor those who use their years in political office to serve their masters and secure their future pelf. ⌾
Doug FordOntario
Populism and the Elites
March 13, 2018 Wayne K. Spear
Under Doug Ford, Ontario politics will likely be organized around an enemies list of cultural foes and special interests. We've been there before.
✎ Wayne K. Spear | March 13, 2018 • Current Events
IT'S NOW CERTAIN that a battle, between the people and the elite, is coming to Ontario. As it did in the days of Mike Harris, the province is about to flirt with populism and might even go beyond flirting, to courtship and consummation.
We heard quite a lot about the elites—always plural—when Rob Ford was mayor and Doug was the hype man and principal enabler of his brother. The word comes to us from an Old French noun derived from the Latin verb ēligĕre, to elect. The elite, in other words, are the elected, or chosen. Like Doug Ford.
Only, to hear Doug tell it, he's no member, or even friend, of the elites—too-clever snobs who bore the common folk with lessons in etymology. They're not defined by income or by power, but by culture and attitude. They live downtown and drink Chardonnay, and they use big words, and they mock the lives and values of the town and suburbs. Elites think they know better than you, and they think that they are better than you. And they have been chosen to lead and have made a balls of things.
There's no necessary connection of this elitism with political power, beyond annoyances like support for bike lanes and streetcars. The list of elitist traits which drive Fordies around the bend has few explicitly ideological entries. Mostly it's stuff like fixed-gear bikes and smugness and drinking champagne with a pinkie extended. Doug Ford complains about the elites the way that anglos are sometimes known to kvetch about the smell of east Indian cooking.
Elites are irritating, and you know them when you see them. The circularity of this term applies to its cognate, liberal, which is also defined as someone who is irritating. Critics may thus be condemned as elites and liberals, without further ado, because the terms boil down to something which is entirely in the eyes of the beholder.
Populism has some of the same characteristics. Nothing is objectively populist—the thing is set of attitudes and postures, a performance that is front to end a matter of individual interpretation. It helps to use rough and "plain" language, and to express ideas that would be scolded in polite company. Populism requires the claim that what matters most in this world is the little guy, and as a rule a populist will go out of his way to affect an unvarnished outlook and demeanour, the little guy being typically conceived as rough around the edges. None of this is incompatible with ulterior political motives like self-advancement and self-enrichment. History is filled with populist candidates who ascend to power on a pile of corpses.
The principal evil of elitism, which populism ostensibly sets out to vanquish, is the idea that some people or ideas or pursuits are objectively better than others, for instance that a Harvard graduate is a better choice of governor than an unlettered man who says y'all and ain't. Moreover, it's impossible to talk usefully about the Ford Nation idea of elitism without mentioning the aesthetics of social class.
It's no coincidence that Doug Ford, like his brother, is large, whereas his political opponents have tended to be relatively slim. (The same is true of Donald Trump.) Class snobbery is such that large bodies will be subjected to often unspoken but condescending judgements, especially when they are bodies that sweat and that are clothed in ill-fitting clothing. Stephen Harper and Preston Manning, well aware of eastern prejudice, invested in makeovers before attempting to run for national office. This earned them a great deal of suspicion and ridicule, but all politicians make their concessions to the masses. Ford is no different. His populism, however, is less accommodating than its predecessors, and as such it is more nakedly a display of something that is common to all populism, the compilation of resentments built up over time.
There is an entirely different way to conceive of populism, as an expression of the inherent decency and dignity of ordinary people, ordinary being defined as neither wealthy nor politically powerful. Many decades ago, generations of the political left cultivated the revolutionary conception of the self-educated worker, possessing a mind and consciousness of her own and equal in physical and intellectual prowess to her presumed social betters. This form of populism established workers' libraries and orchestras and universities, and it advocated not only bread but roses, which is to say the attainment among the common people not only of bare necessities but of beauty. Rather than tearing things down, out of resentment for those at the top, radical populism sought to lift up the people and to make privilege a universal condition. Nothing was thought too good for the working classes—whether champagne, Bach, or caviar.
The populism of M. Trump and Ford is not, however, radical or revolutionary, and it doesn't look very deeply into the nature of the system against which it has declared war. The anti-elitist populism we will get from the Ontario PCs, assuming Doug Ford becomes Premier, will very likely resemble the program of M. Harris. It will be a negative form of populism, conceived entirely in relation to an enemies list of cultural foes and special interests who must be brought low. And when one is consumed by the work of bringing things low, a generalized condition of lowness, with perhaps a few winners, is likely to take hold. After eight years of watching the Harris Conservatives tear things down, the voters tired of anti-elite populism and chose another path. We forget this at our peril.
Donald TrumpDoug FordElitesMike HarrisOntarioPopulism
The Once and Forever Candidate
February 8, 2018 Wayne K. Spear
If Doug Ford runs for everything, one day he just might catch something
✎ Wayne K. Spear | February 8, 2018 • Politics
DOUG FORD's run for mayor had already started when a path to Queen's Park appeared, and if Ford loses in June who doubts that October will coax his return? The man is always running, or teasing about running, as if there could be a doubt. The only variable is the destination. In the past five-or-so years, Doug Ford has imagined himself the succesor of Stephen Harper, Tim Hudak, Rob Ford, and now Patrick Brown. And in between he has run, or has said he would run, for municipal council and the provincial parliament. Doug Ford, the once and forever candidate, always ready to run everywhere for anything.
The Etobicoke Kennedys, we locals sometimes call the Fords, and not entirely with irony. They are now a three-generation political dynasty, if you include nephew Michael. And before you dismiss this comparison as too generous, remember that the Kennedys had a more-than-passing familiarity with intrigue and pills and thuggery, and that the flattering myth of Camelot was just that. Doug lacks even an interest in the mechanics of charm, and his style tends more toward resentment. But resentment is a cheque that someone will eventually cash if only you carry it around long enough. The populism of Mike Harris enjoyed scant currency until Bob Rae had made the 905 sufficiently angry. For seven years, from 1995 to 2002, Harris' nonsense was Common Sense. The voters didn't want a government, they wanted a wrecking ball. Has Kathleen Wynne brought them back, yet, to this point? She seems to have been trying.
Doug Ford took a third of the vote in the last Toronto election. One in three voters, over 330,000, endorsed his message of rampant insider corruption and gravy-train elitism. He's only ever had one message, of outgroup anger and burn-it-to-the-ground populism. Folks, he hates the people that you hate, and he'll poke them in the eye. For you, folks. The Doug Ford myth is reverse Camelot, where the rotten elites are inside drinking Chardonnay and have locked all the good people out. Reverse Camelot isn't a myth about public service or even ideology—it is an appeal to the tribe, a call to charge the gate, a war of cultures. That's why Ford has been able to survive when his claims—such as being an ordinary outsider, rather than a wealthy and well-connected member of a multi-generational political family—turn out to be objectively false. It's not about Doug Ford, it's about the people and the things that Doug Ford hates and will endeavour to confound.
I've lived in Ontario long enough to know that phony populism, of the kind peddled by Doug Ford, goes around and comes around. He'll tell you he's running for Premier because it breaks his heart, folks, to see what's happening to his beloved province, not because he was raised on the mother's milk of political ambition. He'll tell you he's just like you. He'll tell you he's going to Queen's Park to clean things up, not because he craves the power of office, of any and every office. He'll tell you only he can fix what is broken, and that only he can drive out the elites. Maybe this time it will work. If it doesn't, he'll be back, running the path towards another office. When Doug Ford arrives at a fork in the road, he takes it, hoping that eventually it will come with a meal.
Caroline MulroneyChristine ElliottDoug FordOntarioPatrick Brown
Ontario, Politics
The Ontario Liberals Did Not Win: The Other Parties Lost
June 13, 2014 Wayne K. Spear Leave a comment
EARLIER THIS WEEK, on CTV news, I predicted that two political parties would be looking for new leaders if the Ontario Liberals prevailed. Election day had yet to expire when Tim Hudak announced he would be stepping down, fulfilling a half of my proposition.
Andrea HorwathCanadaCurrent EventsElection 2014Kathleen WynneLiberalsNDPNewsOntarioOntario ElectionOntario PoliticsPCPoliticsTim Hudak
Ontario Politics' Franchise Problem
I CAN SUMMON with clarity the celebration of Fall 1990 that inducted the provincial NDP government of Bob Rae. I'd moved to Kingston a month earlier, at the end of August, and like everyone else was shocked to see that the NDP would not only form a government, but a majority government at that.
Andrea HorwathBob RaeCanadaDalton McGuintyDavid PetersonKathleen WynneMike HarrisNewsOntarioPoliticsTim Hudak
Politics, Toronto
There's No Hope of Renewal for Rob Ford, or for Toronto, Until Rob Ford is No Longer the Mayor
THE LATE COMEDIAN Mitch Hedberg had a line that he "used to do drugs." A moment for the applause, and then this: "I still do drugs, but I used to, too."
#ONpoli#TOpoliCanadaDoug FordOntarioPoliticsRob FordToronto
Canada, Obituary, Politics
Another Way of Looking at Minister Flaherty
April 17, 2014 Wayne K. Spear 1 Comment
THE CURRENCY of the word outpouring was notable this week: over at the National Post, Michael Den Tandt has not only described the phenomenon, but indulged it himself. His essay "Former finance minister Jim Flaherty's death leaves a void in the Conservative party" issues high praise, pressing Kipling and Aristotle into the service of a lush panegyric. Again, nothing unusual here – it's what everyone is doing these days, not only at the National Post, but elsewhere.
Canadacommon sense revolutionCurrent EventsDalton McGuintydeathDiana SpencerErnie EvesJack LaytonMichael Den TandtNational PostNewsObituaryOntarioPolitics
Rob Ford is an Effect, Not a Cause, and We'll Survive Him
May 27, 2013 Wayne K. Spear 1 Comment
AS I WRITE this it is impossible to say whether the drama surrounding Toronto Mayor Rob Ford's alleged new high constitutes an actual new low, but drama does seem to be the word of the moment. Exactly one year ago I moved to this city, and in the time since I have witnessed the restless strut and fret of local municipal politics, the principal player of the stage forever availing himself to fresh tales full of sound and fury.
CanadaKingstonLarry O'BrienMegacityMike HarrisOntarioOttawaPoliticsRob FordToronto
Canada, Politics
Good fortune and Bob Rae weren't always on the best of terms
FEDERAL LIBERAL LEADER Bob Rae's citation of William Shakespeare was an indirect invocation also of a commonplace political euphemism — the putting aside of personal ambition "to spend more time with the family." Announcing his decision yesterday not to run for permanent leadership, he produced the closing lines of Sonnet 25:
Bob RaeBrian MulroneyEdmund BurkeJustin TrudeauLiberal Party of CanadaLiteratureNDPOntarioWilliam Shakespeare
Dr. Depression's Bitter Elixir Now Available in Ontario
February 15, 2012 Wayne K. Spear Leave a comment
SOME DAYS AGO I spoke to the former Finance Minister and Prime Minister of Canada, Paul Martin, who in 1995 tabled the federal budget balancing Canada's books. It's become an established (and easily falsifiable) political cliché that Liberals tax and spend whilst Conservatives tidy the fiscal house. Speaking to Mr. Martin, I was reminded of the conspiracy theory that Reagan had tripled the US deficit in order to undermine the welfare state. Well, some thought it a conspiracy theory — and then David Stockman, the Office of Management and Budget Director, confirmed the supply side ruse.
CanadaCHSTDalton McGuintyDavid StockmanDon DrummondKelowna AccordOntarioPaul MartinPoliticsQueen's UniversityRonald Reagan
The Richard Smoke Trial
January 8, 2012 Wayne K. Spear Leave a comment
ON DECEMBER 23, 2011, Ontario Superior Court Justice the Honourable Alan C. R. Whitten rendered his verdict in the case of a vicious beating in Caledonia of builder Sam Gualtieri, by defendant and Six Nations resident Richard Smoke. The judgement has received only a smattering of press attention, most of it issuing from the National Post. My feeling is that there ought to be more attention paid, but of a sort which begins by acknowledging universal failure and the urgent need to do something constructive before southern Ontario becomes a Gaza strip of AK-47-wielding Warriors, rock throwing children, and the Canadian army. If you think this is a dramatic and paranoid fantasy, then you are simply one of the many sleep-walking Canadians who has forgotten (or never bothered to notice) that such a thing has already happened. There is no reason at present to conclude it can't happen again.
CaledoniaCanadaCriminal CodeHaudenosauneeHonourable Alan C. R. WhittenJusticeNational PostNewsOntarioOntario Superior CourtPoliticsR v. GladueRichard SmokeRupert RossSam Gualtieri
Kingston, Ontario, in the 1990s
One's lasting impression is of the old-world feel of the place, ivy growing on limestone and so on. The city, especially its gentrified regions, has a distinct charm. Kingston is Loyalist and wants you to know it: even the garbage cans bear a slogan, pro rege, lege, et grege [for king, for law, and for the people]. Throw a rock and the plaque you'll hit reads, In this house Sir John A. Macdonald (or perhaps his sister-in-law, or brother) once lived. Walking in Sydenham Ward, among the portes cochère and the gothic churches, the North American feels somehow to have been transported to the Old World, which partly discloses the appeal of the place. For whatever else the Old World may be, it at least is not the same old same old. It is an anachronism which offers both to the conservative and progressive imaginations an escape from the Here and Now. Living in Kingston one learns that architecture is full of metaphor and allusion. The Old World is a mental construct which points us somewhere. That somewhere is by definition an anachronism, and anachronism is itself the dominant Kingston motif. Go to a pub, the Wellington for instance, and you'll discover Mississaugans drinking Guinness and singing nostalgic Irish songs (Irish songs always mourn that which is lost, for obvious historical reasons). A handful will boast an Irish grandparent, but in any case what you have is a gathering of misplaced souls, and a textbook instance of Freudian cathexis.
Kingston represents nearly everything which is anathema to the contemporary technocrat. This is its chief merit among the artistic. It is not efficient (until about 1 month ago, tall buildings were prohibited), but rather is set out roughly on a human scale and to a good degree with human needs, and not the needs of the automobile, foremost in mind. Business is not its chief legacy, but instead it is dominated by the public sector. Its historical figures are all first and foremost politicians. There are, I think, more parks than shopping malls. Prior to the triumph of the Open For Business agendas of Messrs Harris and Chrètien, the hospitals, schools, and military college were principal employers. Since the triumph, our many prisons have become a growth industry – a warden told me once that the bank granted without further questions his mortgage when told his occupation – but like other public functions the prisons are likely to be privatised, large profits being virtually guaranteed. Only tourism rivals the public sector as a source of economic activity, but it's questionable whether tourism isn't in many ways simply an extension of the public sector. I've noted, for instance, that the Japanese adore having themselves photographed before our city hall, and not before the Chamber of Commerce. They are fascinated by our squirrels. It is noteworthy that these simple human facts elude our economic experts, who talk as if technology and the modern corporation were the only things that matter. As for private enterprise, it exists, but mostly on the small scale we're told simply won't do in the global economy. Kingston business, that is, locally-owned Kingston business, is Mom-and-Pop in scale, which means politicians will praise it as the hope of our future while undermining it at every opportunity.
Everyone who lives in Kingston is a part of a clique. Hugh MacLennan might well have written a book about the place called Many Solitudes. To the north, in what is known as the Heights, you will find many of Kingston's GWA recipients. The Fruit Belt, still to the north but much closer to downtown, is mostly proletarian 'townies,' but elements of the middle class have been moving in. Sydenham Ward is upper-middle, or perhaps lower-upper class, but here also you will find student apartments and some middle class professionals. Going north-west of the downtown you'll encounter everything from shoebox bungalows, built between the wars, to middle class Tudor houses, neo-colonial mansions, and neighbourhoods where residents sit shirtless on their porches, dining straight from the pot. But these people of course are not mixed up together, and I assume prefer not to be. Class affiliations are too deeply ingrained. The divisions are, appropriately enough, determined by Division Street, which runs roughly north-south, and Princess Street, which runs east-west. The Ghetto, in the south-east, is nastiest of all for sheer aesthetic ugliness – but it's only student housing, Put-On ugliness, like a Hallowe'en costume. The Ghetto houses are shabby and sordid Victorian monstrosities, at least eight persons to each, and their studied dilapidation is a matter of great pride. I'm unable to say how the name, The Ghetto, has come about, but it is in any case an instance of camp. The idea is to pay homage to the working man, as he's conceived by the middle classes, until graduation into the Real World. This imitation underscores the essential fact of Kingston life, that the classes barely encounter one another except in the imagination. If you are a student, it means by definition you never socialize with the Fruit Belt proletariat, and vice versa. Perhaps your paths cross. You may both find yourselves at 3 in the morning eating poutine at Bubba's, but that's about it. The middle class student will at most learn from Judith Thompson's play, The Crackwalker, that the lower classes of Kingston enjoy Hockey Night in Canada and hanging-out at Lino's. The upper classes of Kingston are invisible, as they are everywhere. I have only one personal anecdote concerning them, from my days as a hospital employee, and it involves the annual Hotel Dieu Hospital food drive, a butler, and a can of sardines. As for the so-called lower classes, they will probably never see up-close either Queen's student life or Old Money society, which they mistakenly conflate. Many BMWs pass within feet of the 'Hub' subculture, where Division and Princess intersect, with neither party coming within a million miles of the other.
These of course are largely abstract socio-economic groupings, but there are other sorts of cliques, or perhaps sub-cliques, as well. There are the teenagers who occupy downtown Princess Street doorways, smoking cigarettes and panhandling. There's nothing distinctively Kingstonian about them, but they are almost a part of the local architecture, like body-pierced gargoyles, one feels. There's a women's community which, if you're part of it, you know intimately. Literally everyone knows everyone else, or has at least heard something specific of her. The culture is organised around Take Back the Night marches, women's dances, and women-centred agencies like the Sexual Assault Crisis Centre of Kingston and Kingston Interval House. There's a gay and lesbian community centred on Club 477. If you wish to be seen as a member of long-standing, as they do in the commercials for American Express credit cards, you'll refer to the club as Robert's, its former name. There are more narrowly political groups, each with its own history and culture and favoured enemy. (A favoured enemy is essential to group cohesion.) And no list would be complete without Kingston's itinerant, the many homeless who are well-known by sight. But don't they form a socio-economic group? No, I suspect they live outside such categories. They aren't even a clique, being necessarily of a mostly solitary nature. I have heard some of their life stories, which no doubt are embellished if not made-up entire, but the only thing that makes them a distinct group (besides their poverty) is that they all have fallen outside the system. A few of them are clearly mad and you'll hear it said for that reason 'they shouldn't be on the street' (as if others should), but most are entirely sane. My first year in Kingston, 1990-1991, I read all of Beckett's novels; his characters' predilection for bicycles struck me as uncanny, for such people were, and are, a common Kingston sight. Why, I wondered, the bicycle? Why not a yo-yo or a pet? Years later I bought a bicycle myself, and it occurred to me that a bicycle gives one a compelling sense of momentum, which must be a great comfort if you sense your existence is pointless. It's easier to feel you're going somewhere on a bicycle. Beckett nowhere makes this explicit, but I doubt the fact escaped him. I'm thinking of one Kingston indigent who I often saw travelling about in a grand arc, like Haley's comet, taking in not only the city but much of its environs. He collected bits of refuse which he then affixed to his bike, using other bits of refuse. It would have seemed mad if not for the fact that his acquisitiveness simply reminded me of my own. We are all busily engaged in the accumulation of stuff, and whether or not it's junk is a matter of opinion. This is not however to trivialize deprivation by putting all consumption on a par. The principle characteristic-in-common among the homeless, as I've said, is their poverty, for which they are treated as criminals and swept from public view. Their consumption is judged non-economic and hence is subject to treatments alien to the better-off. I dwell on these people (they are always 'those people') because they are a highly visible feature of Kingston. No tourist is encouraged to consider them – quite the opposite, in fact – but they exist and speak volumes of the sort of place Kingston is. As a group with an almost exclusively public existence, they constitute a unique category of person. The poor are in a sense always with us, and yet we understand them least of all. On the topic of social groupings I could go on and on (religious affiliations, men's clubs, Chamber of Commerce, artists' groups, etc.), but the point is always the same. The members of these cliques rarely if ever interrelate, even in cases where a clear overlapping of interests would lead us to expect them to. This is perhaps typical of any city, but it's remarkable given Kingston's geographically-determined physical intimacy. Nowhere are so many solitudes packed into so little real estate.
The solitudes make generalisation about the character of Kingstonians difficult. Nonetheless, at first glance Kingston does at present appear to be a 'progressive' community. Progressive here designates a promotion of cultural and political diversity. The positive feature of multiple solitudes, at least in principle, is its advancement of tolerance. You can be anything you wish, and folks will leave you alone. This impression derives from the sheer variety of culture and lifestyle on display, most of it but not all organised for tourist consumption. It's true that Kingston is more progressive than most Ontario cities, if we're careful about what this means: many kinds of 'ethnic' restaurants, and a diverse set of goods in the stores. This is of course banal, but it does make an impression. A disproportionately large number of writers settle here because it appears to them that Kingston is cosmopolitan and hence 'civilized' – that is, it supports Bohemianism. Since many Canadian writers come from small towns and are in flight from orthodoxy and parochialism, this logical error is understandable. In a more narrowly-political sense of diversity, there is plenty of theatre and art which characterises itself as a 'celebration of alternative lifestyles,' meaning gay and lesbian. So support for diversity does appear to be part of the local character.
Behind the scenes however one should note Kingston's managerial monoculture, its solidly Open-for-Business political ideology. To some there's a contradiction here, but since diversity sells well, the contradiction can be easily resolved. Everything is judged according to the market, including heresy. Window dressing aside, Kingston's character may be inferred from its current municipal government, elected in 1997. 16 of its 17 members are white males, almost unanimously conservative and middle class, and the lone female was acclaimed. Debate the significance of this if you will, but at least it's clear that the city is run by the same sort of persons who advise the provincial Harris Tories, and this as the result of a democratic election. [-June 1998]
Early WritingsGood and HardKingstonOntario


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Pacemaker Okayed in Europe Is One-Tenth the Size of Those Used Now
Throughout the history of medicine, many devastating illnesses were first treated with dangerous, sometimes even barbaric, methods that initially seemed almost as bad as the sickness. Over time, those treatments get refined and it becomes hard to believe that people once died of epilepsy, for example, or from what seem now to be minor heart conditions.
Many types of arrythmia, for example, that used to kill patients no longer do. More than 4 million people around the world wear pacemakers. But it's still a serious matter to have life-saving pacemakers installed and a limitation to live with one.
But in the coming year, it will likely become significantly easier to receive and live with a pacemaker.
Developed by Silicon Valley startup Nanostim, a device about the size of a AAA battery, or one-tenth the size of a conventional pacemaker, was recently approved for use in Europe. It is installed through a catheter in the femoral vein in a minimally invasive procedure. Then, for about 10 years it sits inside the ventricle of the heart and delivers its regulatory electrical pulses wirelessly.
"For the past 40 years the therapeutic promise of leadless [or wireless] pacing has been discussed, but until now, no one has been able to overcome the technical challenges," Dr. Johannes Sperzel of the Kerckhoff Clinic in Bad Nauheim, Germany, said in a news release.
The first pacemaker was the size of an ice hockey puck and had to be installed in the abdomen. Currently, most are about the size of a watch and are installed in a "surgical pocket" under the skin near the collarbone. The padded wires, or leads, that feed down to the heart to stimulate it cause many patients discomfort.
After the approval came through, Minnesota-based St. Jude Medical acquired Nanostim for $123.5 million. The company, which made the first pacemaker in 1958, had funded Nanostim's work, and the Nanostim pacemaker uses a St. Jude Medical electrode.
"I definitely think this new pacemaker technology will improve patients' quality of life. Already they can mobilize very soon after the implant," said Dr. Reinoud Knops of St. Jude Medical. Infections, the major cause of mortality among patients receiving pacemakers, will also likely decline, Knops said.
The pacemaker is still undergoing clinical trials in the United States.
All images courtesy St. Jude Medical
Cameron received degrees in Comparative Literature from Princeton and Cornell universities. He has worked at Mother Jones, SFGate and IDG News Service and been published in California Lawyer and SF Weekly. He lives, predictably, in SF.
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Who Should Get a Covid-19 Vaccine First?

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Join us for an interactive Murder Mystery Dinner Party! You can pick between an interactive character who may end up being the murderer, or a more reserved character. Once you purchase your ticket, you will be sent the character list where you can choose your identity (there are 75 possible characters!), ranging from a celebrity chef, astronaut, or boat captain to a general contractor, executive assistant or entrepreneur.
There are 3 rounds throughout the evening, where you will receive an envelope with specific instructions (example: during this round tell a few people you think Carey Coral is the most dishonest archaeologist that you have ever met, or talk to Mo Marrow about the condition of his boats at Rich Excursions, you heard that customers are unhappy with their deep sea fishing trips.) These prompted clue cards make it easy to stay in character, and a foolproof way for the most reserved characters to interact and partake in the game.
Have kids? Bring them to Big Sky Imaginarium where they will enjoy an activity packed play date with a fun craft, homecooked dinner, games, then settle in to watch a movie.


The Out of the Jungle printed dress is a favorite, the printed fabric makes this piece great for dressing up or wearing casual. It features a T-Shirt fit, adjustable sleeves, and a tie waist. Try wearing with our Made for Walking Knee High Boots for the full look.


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Magellan Financial Group (MFG)
Magellan Financial Group Share Price and Company Fundamentals
Magellan Financial Group Limited is a publicly owned investment manager. It invests in global equities and global listed infrastructure markets across the globe. Magellan Financial Group Limited founded in 2004 and is based in Sydney, Australia.
The principal activity of the Group is funds management with the objective of offering international investment funds to high net worth and retail investors in Australia and New Zealand, and institutional investors globally.
Asset Management / Financial Services
https://www.magellangroup.com.au
Level 36, 25 Martin Place, Sydney NSW 2000 Australia
More: Magellan Financial Group Dividend history, yield and payout ratio
Magellan Financial Group paid $2.00 dividend and the ex-dividend date was 23 Aug 2021.The dividend payout ratio is 151.52%. The dividend payout ratio is defined as the amout of dividend paid divided by the earnings of the company.MFG dividend payout ratio is more than 90% making it difficult for the company to maintain the dividends and increase it year by year.
MFG's forward dividend amount is $2.28 and the forward dividend yield is 11.42%. A forward dividend yield is the percentage of a company's current stock price that it expects to pay out as dividends over a certain time period, generally 12 months. Forward dividend yields are generally used in circumstances where the yield is predictable based on past instances. If not, trailing yields, which indicate the same value over the previous 12 months, are used.
As of Jan 2022, following are the company executives and directors listed on Magellan Financial Group.
Mr. Hamish Macquarie Douglass Exec. Chairman & Chief Investment Officer 5.36M
Ms. Kirsten Elizabeth Morton Interim CEO & CFO 863.98k
Ms. Marcia Paulina Venegas Head of Risk, Compliance & Legal, Chief Compliance Officer and Company Sec. 804.89k
Mr. Craig Wright Head of Magellan Capital & Advisory 833.15k
Mr. Kris Webster C.F.A., CFA Head of Technology, Communication & Media and Portfolio Mang.
Sarah Thorne Investor Relations
Mr. Leo Quintana Chief Legal Officer
Mr. Gerald Stack Head of Investments, Head of Infrastructure & Portfolio Mang.
Mr. Domenico Giuliano Deputy CIO, Head of ESG and Portfolio Mang.
Ms. Nikki Thomas CFA Head of Research & Portfolio Mang.
The market capitalization of Magellan Financial Group is and its enterprise value is .
The MFG's stocks Beta value is 0.97 making it 3% less volatile compared to ASX market index. Technology stocks and small caps tend to have higher betas than the market benchmark. This indicates that adding the stock to a portfolio will increase the portfolio's risk, but also increase its expected return. On the other hand utility stocks often have low betas because they tend to move more slowly than market averages.
Companies similar to Magellan Financial Group (MFG)
AMP (AMP)
ASX (ASX)
Challenger (CGF)
Credit Corp Group (CCP)
Hub24 (HUB)
Insignia Financial (IFL)
Janus Henderson Group Plc (JHG)
Macquarie Group (MQG)
Netwealth Group (NWL)
Pendal Group (PDL)
Perpetual (PPT)
Pinnacle Investment Management Group (PNI)
Platinum Asset Management (PTM)
Magellan Financial Group (ASX:MFG) Frequently Asked Questions
1. What is Magellan Financial Group's Stock Symbol?
Magellan Financial Group trades on ASX under the ticker symbol "MFG".
2. What is Magellan Financial Group's stock price today?
One share of MFG stock can currently be purchased for approximately $19.98.
3. How can I contact Magellan Financial Group?
Magellan Financial Group's mailing address is Level 36, 25 Martin Place, Sydney NSW 2000 Australia. The company can be reached via phone at 61 2 9235 4888.
4. What is Magellan Financial Group's official website?
The official website of Magellan Financial Group is https://www.magellangroup.com.au.
5. Which share registry manages Magellan Financial Group's stock?
Magellan Financial Group's stock is managed by BOARDROOM PTY LIMITED.
MFG Financials Details
MFG Overview
MFG Annual Report
MFG Balance Sheet Statement
MFG Insider Transactions
MFG Dividend History


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Q: Android ExpandableListView with different children types I have an expandable List View in my application. When all the children are TextView all works fine.
But now I am trying to have differents children types. That's mean that for example for the first group I want to have TextView children, for the second group I want to have EditText children and for all the others groups I want to have radioButton children.
I tried to code it but I get a BUG . For the same group I get different types of Views(EditTexts,RadioButtons and TextViews). I think it is due to the convetView because on the first click all in OK and then the problems begin.
This is my getChildView method:
public View getChildView(final int groupPosition, final int childPosition,
    boolean isLastChild, View convertView, ViewGroup parent) {
   final String laptop = (String) getChild(groupPosition, childPosition);
   LayoutInflater inflater = context.getLayoutInflater();

if (convertView == null) {
        convertView = inflater.inflate(R.layout.child_item, null);
}
TextView item=null;
EditText itemEdit=null;
RadioButton itemRadio=null;

item = (TextView) convertView.findViewById(R.id.laptop);
itemEdit = (EditText) convertView.findViewById(R.id.laptopEdit);
itemRadio = (RadioButton) convertView.findViewById(R.id.laptopRadio);

if(groupPosition==0){
     itemEdit.setVisibility(View.GONE);
     itemRadio.setVisibility(View.GONE);
}else if(groupPosition==1){
    item.setVisibility(View.GONE);
    itemRadio.setVisibility(View.GONE);
}else{
    itemEdit.setVisibility(View.GONE);
    item.setVisibility(View.GONE);

}

ImageView delete = (ImageView) convertView.findViewById(R.id.delete);
delete.setOnClickListener(new OnClickListener() {

    public void onClick(View v) {
        AlertDialog.Builder builder = new AlertDialog.Builder(context);
        builder.setMessage("Do you want to remove?");
        builder.setCancelable(false);
        builder.setPositiveButton("Yes",
                new DialogInterface.OnClickListener() {
                    public void onClick(DialogInterface dialog, int id) {
  List<String> child =laptopCollections.get(laptops.get(groupPosition));
                        child.remove(childPosition);
                        notifyDataSetChanged();
                    }
                });
        builder.setNegativeButton("No",
                new DialogInterface.OnClickListener() {
                    public void onClick(DialogInterface dialog, int id) {
                        dialog.cancel();
                    }
                });
        AlertDialog alertDialog = builder.create();
        alertDialog.show();
    }
});

if(groupPosition==0)
        item.setText(laptop);
    else if(groupPosition==1)
        itemEdit.setText(laptop);
    else
        itemRadio.setText(laptop);

return convertView;
}

This is my "child_item.xml"
<RelativeLayout xmlns:android="http://schemas.android.com/apk/res/android"
   android:layout_width="fill_parent"
   android:layout_height="wrap_content"
   android:padding="10dp"
   android:background="#196387">

<TextView
    android:id="@+id/laptop"
    android:layout_width="wrap_content"
    android:layout_height="wrap_content"
    android:layout_alignParentLeft="true"
    android:layout_centerVertical="true"
    android:paddingLeft="25dp"
    android:textColor="#dddddd"/>

<EditText
    android:id="@+id/laptopEdit"
    android:layout_width="wrap_content"
    android:layout_height="wrap_content"
    android:layout_alignParentLeft="true"
    android:layout_centerVertical="true"
    android:paddingLeft="25dp"
    android:textColor="#dddddd"/>

<RadioButton
    android:id="@+id/laptopRadio"
    android:layout_width="wrap_content"
    android:layout_height="wrap_content"
    android:layout_alignParentLeft="true"
    android:layout_centerVertical="true"
    android:paddingLeft="25dp"
    android:textColor="#dddddd"/>

<ImageView
    android:id="@+id/delete"
    android:layout_width="wrap_content"
    android:layout_height="wrap_content"
    android:layout_alignParentRight="true"
    android:src="@drawable/ic_delete"
    android:contentDescription="@string/app_name"/>

</RelativeLayout>

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Fall colors picture from Wingate University near Charlotte, North Carolina oh yeah here's Singer James Taylor's Carolina song too https://youtu.be/78O6–THTF0. Thanks to my young at heart Sophomore English prof Mr. Maurice Thomas for the picture!
Next Post: More abuse scandal at Franciscan U , my alma mater.


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Old School Review: "The Mirror" (1975)
Posted on October 31, 2017 November 28, 2019 by spacecortez
Written by Andrei Tarkovsky and Aleksandr Misharin and directed by Tarkovsky in 1975, "The Mirror" is a hell of a head trip if you haven't ever heard of the Russian filmmaker and dived headfirst into this film without any context like I did. The other day I was looking through the Filmstruck catalog and decided to look into more foreign films, it's an area of storytelling that I'm rather lacking in to be honest, and found Russian filmmaker Andrei Tarkovsky. Skimming through his seven feature films I noticed "Solaris", perhaps remembering the title from somewhere or sometime-but instead opted for "The Mirror" as it was an hour shorter. Ironically in an effort to save time I chose a film that required roughly two hours of light research and article skimming to understand.
"The Mirror" is an intensely personal film for Tarkovsky. The film is part autobiography, part fiction, and part pure visual storytelling. This film is very abstract. It plays with time, reality, and scenes sometimes play out in black and white, other times in sepia-tone, and sometimes just in plain old color. The film is told through three separate timelines, pre-war, war-time, and post-war in Russia with many sequences being directly lifted from the filmmaker's life. Fleeing Moscow to live with relatives in the countryside in his youth was a big part of the pre-war phase. Tarkovsky's father was a well known poet, and you can most definitely see that influence. There are many slow and meditative shots revealing nature and people intermingling, like in one of the opening scenes where the Doctor who asked for directions gazes back towards Tarkovsky's mothers' house in the countryside as wind sweeps and bellows along the fields of buck wheat that Tarkovsky had planted for the film. The main character-whose face remains unseen throughout the film and is to be a reflection of Tarkovsy himself- narrates from off-screen throughout many sequences, although there are a few narrations weaved into the film where Tarkovsky's father recites his own poetry over select scenes.
Tarkovsky here has essentially made a stream of consciousness film. It is about a man reflecting on his life as he lay dying from illness, and in that way you can absorb and view these scenes from this character's perspective. Even though we are never properly introduced to the character we know him deeply by the time we see him caressing a bird before letting it fly away near the end of the film. What makes the film hard to digest on first viewing, besides it's incredibly nonlinear narrative and plot structure, is that Tarkovsky had cast two actors to play two different roles. Margarita Terekhova plays Natalia, the ex-wife of the adult Aleksei (Tarakovsky's representation of himself) and Aleksei's Mother, Maria, in the pre-war era as well. On top of that Maria also goes by Masha or Marusya at times. The child actor, Ignat Daniltsev, plays the 12 year old Aleksei and also Aleksei's son Ignat later in the post-war era as well. There's also the fact that Tarkovsky inserts real newsreel footage of wartime with Russia, China and Germany depicting border spats with China and immensely crowded walkways and protests and other more mundane footage of Russian soldiers moving large floating structures piled high with perishables and goods through ankle high water with no destination in sight.
In my mild research of the film I came across a sentiment that perfectly said what I could not in how to approach this film, I have a link to the website at the bottom of the review if this has piqued your interest for more information about "The Mirror", "I realised that the best approach when watching this film is a simple one. To not try to dissect what each scene means per say but to try to understand the underlying themes of the film which involve adolescent love, pain, abandonment and emotional trauma"(http://www.classicartfilms.com/mirror-the-1975). This was an interesting departure from what I normally view and I encourage others to go and watch something that you know you wouldn't normally choose, it's good to get a different perspective. "The Mirror" was captivating in a few ways for me personally, but this is definitely not a film that will fit everyone's tastes. The director knew that when making the film. He cared not for the box office predictions or numbers, not for the critical response that he would receive good or bad, he just created, and that is something that I can appreciate. However if you viewed this film and still have no idea what was even going on, fret not, for even Tarkovsky himself wasn't entirely sure of the purpose or meaning of some scenes, "There are many complications there which I don't even completely understand myself. For example, it was very important for me to have my mother in some scenes. There is one episode in the film in which the boy, Ignat, is sitting…not Ignat…what was his name?…the author's son, he is sitting in his father's empty room, in the present, in our times….And as he is sitting there we hear the doorbell, he opens the door. This is my mother. And she is the grandmother of this boy who opens the door for her. But why doesn't she recognise him, why doesn't the grandson recognize her?…one has completely no idea. That is…firstly, this wasn't explained by the plot, in the screenplay, and secondly…even for me this was unclear." (http://www.classicartfilms.com/mirror-the-1975)
Final Score: The Dreams, Past, & Future of 1 man
*For more analysis check out this site below, it helped me immensely in sorting out the film's themes and ideas in play:
http://www.classicartfilms.com/mirror-the-1975
Old School Review: "The Seventh Seal" (1957)
Written and directed by Ingmar Bergman in 1957, "The Seventh Seal" is a fantasy drama set during the Middle Ages in which a disillusioned Knight returns to Sweden after the Crusades have ended. The Knight, Antonius Block, (Max Von Sydow) is met by the personification of Death (Bengt Ekerot) on a seaside coast and engages in a 'running' game of Chess over the course of several days to determine his fate. If this sounds familiar, a knight playing chess with the grim reaper, it may be because of the parodies that this film has inspired over the years. Take Ian McKellen's cameo in "The Last Action Hero" for example:
McKellen's character even emerges from the set of a film with the same title as Bergman's classic, sporting the simple yet effective look of Death. However my favorite example of this imagery being parodied happens to take place in a little movie called "Bill and Ted's Bogus journey" the sequel to "Excellent Adventure":
Other aspects of the film have been mined for laughs as well. "Monty Python and the Holy Grail" famously depicted their own version of the flagellant scene by having a roving group of monks smacking themselves in the head while reciting lines from the Dies Irae (A Latin Hymn):
So, why all references you might ask? To press upon you (for the uninitiated) that this film is heavily lauded around the world-and therefore has been ripe for a good ribbing for over half a century now. The story deals heavily with religious themes and seriously questions organized religion through allegory and rich dialogue. In the film, every character deals with doubt in some way shape or form- it is one of the central ideas of the story after all. The two opposing ideologies of the film are represented in both the Knight Antonius, and in Jons (Gunnar Bjornstrand), his nihilistic squire who rides with him. Both characters' personalities color Bergman's own differing thoughts on the subject of God, "Since at this time I was still very much in a quandary over religious faith, I placed my two opposing beliefs side by side, allowing each to state its case in its own way. In this manner, a virtual cease-fire could exist between my childhood piety and my newfound harsh rationalism." -Ingmar Bergman.
The other major theme of the story is the silence of God and how people react to this. Antonius may be dour and depressed by all of this but he never rejects the possibility of God, he simple wants some reinforcement that can prove that his life has not been wasted. He says as much when he and Jons enter a small chapel. Jons chides a local artist there for creating artwork depicting the dance of death and embracing the religious and ideological fervor that led to the Crusades while Antonius goes to confess. He asks, "Is it so terribly inconceivable to comprehend God with one's senses? Why does he hide in a cloud of half-promises and unseen miracles? How can we believe in the faithful when we lack faith? What will happen to us who want to believe, but can not? What about those who neither want to nor can believe? Why can't I kill God in me? Why does He live on in me in a humiliating way – despite my wanting to evict Him from my heart? Why is He, despite all, a mocking reality I can't be rid of?" Shortly thereafter Antonius reveals that he is playing chess with Death and boasts of the move he has planned to cheat the supernatural foe. However, it was not a priest that was listening to the woes of the Knight, but Death himself.
During this exchange Antonius reveals his understanding of religion and the organization of it, "We must make an idol of our fear, and that idol we shall call God." Once Death vanishes from the chapel both Antonius and Jons head into the small village and see the traveling theatre troupe we had been introduced to earlier in the film. They are composed of a married couple, Jof (Nils Poppe) and Mia (Bibi Andersson) with their infant child and Skat, the director of the troupe. Jof occasionally has visions and is the only other character to actually see Death other than the Knight near the end of the film. After a spat in the local pub involving Jof, Antonius meets the married couple outside of town and shares a meal with both of them and oddly enough- he finds his meaning in that moment with Jof and Mia on a hillside, he is inspired by the simple love of the two and embraces the gift of the natural world, not a fate handed down from above, but of the fellowship of mankind in the natural world. He then extends an offer to them to travel with him and Jons through the forest rather than risk getting the plague along their original route, even going so far as to offer shelter in his castle from the plague.
In his next turn in the game Antonius appears exuberant and Death takes notice, deviously asking if he plans to take the troupe through the forest. Antonius also takes note of the grim reaper's inquiry and becomes well aware of the threat his newfound friends face with him. Once deep into the woods the Knight engages with Death one last time, in which Jof notices who Antonius is playing chess with and decides to escape while Death is distracted by the game. Antonius sees the troupe attempting to leave and knocks over half the board to let them escape Death's grasp.. for now. It is this act which completes Antonius' quest to do one meaningful deed before Death takes him. In the end Jof sees Death and the Knight's remaining travelers doing a solemn dance of death as he guides them away from the land of the living.
Much like my initial viewing of "Citizen Kane" I found this film to be more enjoyable than I had expected. This sensation can be condensed down to two major reasons why the film worked for me as a modern audience; humor and truth. Gunnar Bjornstrand's character Jons was an unexpected source of humor in the film as the first half of the film paints the squire as a cynical brute with a penchant for singing tunes. We see him rough up a would-be rapist, Raval (Bertil Anderberg), while searching for water in the first act. However, Jons quickly recognizes Raval, the theologian that had convinced the knight to leave for the Crusades in the first place, and promises to brand him on the face if he sees him again-which he does, and he immediately fulfills that promise. The second half of the film shows his other half though, his comfortable acceptance of the world and its darkness, which leads into his sense of humor. One scene in particular has Jons providing lines to Plog the Blacksmith as the local smith tries to insult and threaten the theater troupe director that had run off with the blacksmith's wife earlier in the film. It's wonderfully played as the squire's attention is piqued when the insults begin to fly and he makes his way to Plog's ear to aid for his own enjoyment. There are other times throughout the film's runtime when the darkly comic humor emerges, though the film is indeed mostly concerned with Antonius' quest for answers.
Which leads me to the second reason the film worked, the truth in Antonius' universally relatable problem, having doubt. Questioning the larger machinations at work can be applied to religion, but it could also be applied to government rule, as an example. Having a sensation of existentialism after experiencing doubt as to what was previously considered the standard way of life can be disorienting to say the least. Many people throughout time have felt that same sensation, it's part of what makes a revolution so unsettling to some- and just as invigorating for others. The truth in the film is likely so well done because Bergman drew from his own inner turmoils about religion but also because of the way he crafted the world of his film as well. By creating a sensation of anxiety and fear from a threat as menacing as that of the black plague Bergman made the medieval world's problems comparable to that of the 1950's and now again in 2017, the fear of nuclear annihilation. Bergman thought of his film as an allegory for the 20th century, or the modern era, with the threat of the black plague resembling the cloud of anxiety that nuclear weapons now bring in its place. He was also inspired by the idea of art existing in dark times, which is brought to life in the film by the troupe of traveling actors bringing song and dance to various small villages even under the looming threat of the black plague. "In my film, the Crusader returns from the Crusades as the soldier returns from the war today. In the Middle Ages, man lived in terror of the plague. Today, they live in fear of the atomic bomb" – Ingmar Bergman. "The Seventh Seal" is a classic for a reason and if you want an entry point into the acclaimed filmmaker's body of work, this is a fine start. "The Seventh Seal" is in the Criterion Collection and can be found on Filmstruck, a classic film streaming service that works with the Criterion Collection, as well.
Final Score: 1 Knight & 1 Bishop
*For more analysis of "The Seventh Seal" I suggest giving the video below a look, it helped me to more fully understand the film, hopefully you'll find it of use as well.
Famous Filmmaker's Firsts: The Coen Brothers' "Blood Simple"
Written by both Joel and Ethan Coen and directed by Joel Coen, "Blood Simple" is a thriller that reflects much of their future catalog of films in a multitude of ways. Mainly that there might be a simple tumbling of events based around those universal and age old instigators; love, jealousy, and revenge. The film opens with narration condoning complainers and letting the audience know that something can always go wrong because in Texas, we're told, you're on your own. This brilliantly lays out the mentality that ultimately causes everything to go awry.
It's a simple story at its core, but it's what the Coens do with that structure and how they shoot the preceding events that make this film worth it's while. Abby (Frances McDormand) decides to leave her jealous and brooding husband Marty (Dan Hedaya) in the night. Ray (John Getz) works for Marty at his bar and offers to drive Abby to Houston, but a mutual attraction only gets them to a motel before doubling back after a night of passionate indiscretion. While there Marty's hired private eye Visser (M. Emmett Walsh) snaps proof of the infidelity and wheels back to Marty to hand over the proof for an envelope of money.
A few double crosses later and we have scenes that play out where two characters believe each other has killed another all while we the audience know that neither version is true. The Coens play each scene for all it's worth by ratcheting up the tension with their shot sequences, pacing, and soundtrack choices. The title of the film is derived from a 1929 Dashiell Hammett novel (Red Harvest) which the term "Blood Simple" is described as the addled, fearful mindset of people after a prolonged immersion in violent situations. Which is something that every major character goes through, and some viewers may also feel unsettled due to the atmosphere alone. I really enjoyed this movie, it was fun getting to the root of two of the most critically acclaimed directing duos to ever hit Hollywood and it'll help give me context to their future releases, every good story needs an origin after all. I suggest giving it a shot!
Final Score: One love triangle and a knife in the hand
Written and directed by Jordan Peele of "Key and Peele" fame, "Get Out" is the directorial debut from the sketch show comedian. Peele seems to have done his horror homework because his first feature achieves what many movies in the genre fail to do; create an atmosphere of tension that doesn't rely on jump-scares to unsettle the audience. This is the type of horror movie that I revel in, the kind that hints and nudges you from thinking "That's kinda creepy.." and transforms into "Get out man! Just get outta there!" by the time the third act rolls around. I prefer psychological horror or thrillers more than the stereotypes of the genre that movies like "Paranormal Activity" or "Saw" suggest. To each their own though, my favorite horror film is still "A Nightmare on Elm Street". "Get Out" is more of a blend of horror and comedy, but the comedy is used to great effect when the story needs it. Particularly from Rod Williams (Milton 'Lil Rel' Howery) Chris' good friend and TSA agent who he frequently calls for a voice of reason, and a good laugh.
Daniel Kaluuya stars as Chris Washington, a young photographer whose in a relationship with Rose Armitage (Allison Williams) and is about to head off to her parents house in the wealthy secluded suburbs. Chris is a little anxious while packing, Rose prods and he reveals his unease about the potential for racial tension, he asks, "do they know I'm black?" She paws off the comment saying that her parents aren't racist, just friendly and awkward, forewarning Chris that her dad would have voted for Obama for a third time if he had the opportunity. He accepts that and is soon met on their doorstep with an amicable "We're huggers!" from Rose's father Dean (Bradley Whitford) and her mother Missy (Catherine Keener). In fact other than a few curiously worded statements from Rose's father about his near genocidal hatred of deer and his father losing a spot on the 1936 Olympics team to Jesse Owens, (who famously won four gold medals in track and field and subsequently marring Hitler's propaganda about the supposed greatness of the Ayran race) everything seemed well enough. That is, until he spots the other two black people on the property, Walter the groundskeeper (Marcus Henderson) and Georgina the maid in the house (Betty Gabriel).
Mood and feeling permeate the remainder of the plot as "Get Out" plays with our expectations and is measured in its pace, allowing us to become equally unsettled alongside Chris. Things ultimately ratchet up in intensity once Missy Armitage suggests trying her method of hypnosis to cure Chris' "nasty little habit" of smoking. The film holds no blatant twists per se, things unfold at a clip where the true intentions of the Armitage clan are revealed in due time. I'll leave the rest to be discovered upon watching, but it is a fascinating pairing of clever race relation anxieties and something a bit more… cerebral. What I loved about the film is how Peele has taken inspired cues from classics of the creepy variety to create something new and original. "Guess who's coming to dinner?", "Rosemary's baby", "The Stepford Wives", "Misery", and "The Shining" have all been referenced by Peele in interviews when asked about his influences and where he draws inspiration from and "Get out" is that much better for having the patience to shoot the film the way he did. He even noted that the original intent of the film when he wrote it was to make a point to prove that just because we elected a black man for president twice, the country wasn't in some fairy-tale version of a post racial society. Hard to argue against that reality now, isn't it?
Final Score: 1 Neurosurgeon, 1 hypnotist, and 1 dead deer
Old School Review: "Burden of Dreams"
Posted on October 12, 2017 March 20, 2020 by spacecortez
Written by Mike Goodwin and directed by Les Blank, "Burden of Dreams" is a documentary about the legendarily chaotic production of Werner Herzog's film "Fitzcarraldo" that was shot on location in the South American jungles of the Amazon. Since its release "Burden of Dreams" has gathered notorious status as a documentary that is more daring and impressive than even "Fitzcarraldo" itself due to the massive setbacks and litany of problems that plagued the four year production. It also chronicles a parallel between Herzog and his film's subject matter, the similarly stubborn and unrelenting real life rubber baron Carlos Fermín Fitzcarrald. Herzog was inspired by Fitzcarrald's mettle in aspiring to move a steamboat from one river to the next at a precarious angle in the mud and thick jungles. However the real event wasn't as plagued as Herzog's, due in part to Herzog's insistence of risk and difficulty and partly due to chance and circumstance. For example, Herzog demanded they move the whole ship in one piece when in reality Fitzcarrald had moved the real ship in pieces and it only weighed thirty tons in comparison to the three hundred and twenty ton boat that Herzog wanted to use.
Carlos Fermín Fitzcarrald was a lover of the Opera and had wished to fund the construction of an opera-house in the Amazon jungle, which is why he was attempting to traverse dangerous terrain in great pain and effort to reach a basin of rubber trees that had not yet been reaped of their resources. When things didn't work out for Fitzcarrald he retired into becoming a wealthy rubber baron instead of following through on his dreams to bring the Opera to a new continent. Herzog would not give in so easily. In the beginning of the production Herzog had Jason Robards starring as Fitzcarraldo with Mick Jagger co-starring as his side-kick in the endeavor. In fact, they had shot forty percent of the intended film including both leads before Robards was rushed back to New York with amoebic dysentery and forbidden by his doctors to return to the location. Mick Jagger also had to leave the shoot shortly thereafter as he was scheduled to tour with the Rolling Stones and couldn't be behind schedule with recording new music. So Herzog erased the sidekick character and sought a new lead, considering Jack Nicholson among others before settling on Klaus Kinski, an actor he had worked with before on previous films. Herzog started back from the beginning as nothing they had shot previously would now work.
Upon arrival in the Amazon the local tribes of natives were incredibly superstitious of the German film crew and things quickly escalated to the point that they had to move the production twelve hundred miles upriver as they had been in the middle of two warring tribes' territories. Once there they had to traverse new problems and obstacles. The mishaps included plane crashes, disease, and attacks by unfriendly Indians to name a few of the many problems they encountered. Herzog had planned to shoot during the rainy season so the rivers would be deep enough for his three ships that he had collected for the shoot, but by the time they got to shooting any of these scenes time had run out and they were running into the dry season, the longest one on record at the time. Large amounts of time were stalled on the shoot due to the difficulties in getting supplies to their film camps, waiting on natives to go council with other neighboring tribes to assess their grievances of various ongoings, and waiting on parts to be delivered for the large tractor that they acquired to pull the boat up the arduous slope. Sometimes they received the wrong parts and had to then wait even more just to get the correct part.
This doesn't even cover the grievances from the western actors and crew that had stayed far longer than any of their initial contracts had deemed necessary. Klaus Kinski in particular was notably difficult as time waned on. Kinski provoked many crises in the production, he fought virulently with Herzog and other members of the crew over increasingly trivial matters. Later in his documentary of the actor, "My Best Fiend", Herzog notes that the native extras were greatly upset by the actor's antics, even as Kinski claimed to feel close to them. Herzog states that one of the native chiefs offered in all seriousness to kill Kinski for him, but that he declined because he needed the actor to complete filming. Schedules being pushed back months and months at a time only put increased stress on the film crew. One cameraman even took injury when one of the boats crashed into the rocky facade of the river because Herzog had noted that due to heavy unexpected rainfall the rivers would be swollen to the levels they needed for the shoot-but only for several hours leveraging great risk for great reward. When it came time to sort out the logistics of filming the boat being pulled up the muddy slope (at a forty degree angle) to craft the illusion of the natives hauling the vessel without the aid of their frequently unreliable tractor, Herzog stood his ground and debated with the engineer they had hired to help them complete the shoot successfully and safely. Eventually the engineer quit the production as he believed the project to be too risky and that it would put people's lives in unnecessary risk.
Herzog persisted though, the linchpin of the film was shooting the three story boat being hoisted over an isthmus between two adjoining rivers. "Fitzcarraldo" was the story of a single-minded man obsessed with the notion of introducing opera to the jungles of the Amazon. Les Blank's premise, that Werner Herzog became as obsessed as his lead character, needs no underlining. I found the documentary to be a fascinating examination of one of cinema's most enduring personalities in Herzog. His determination and artistic integrity in shooting something so unfathomable is both humbling and astonishing. No special effects were used in any aspect of the production and in "Burden of Dreams" you get to see inside the creative process of one of the most fascinating documentary filmmakers we will likely ever witness. If you find film production to be a subject that you enjoy, I highly recommend seeing this. You probably won't hear of many scenarios that have as good a story as this one.
Final Score: Three three-story steamboats & dozens of real life native Amazon tribesman turned actors
Review: A Ghost Story
Written and directed by David Lowery, "A Ghost Story" is a quiet and small film about the enormity of existence, love, loss, and grief. I originally sought out the film mostly because it was another unique offering from studio A24, but also because of the simplicity of the idea. Lowery cleverly uses a childlike representation of the ethereal limbo as a story device- a figure draped in a simple white bedsheet- to examine some of the most universal themes of what it is to be human. This is a film that is almost certainly not going to be everyone's cup of tea, mostly because it is almost devoid of dialogue and it slowly meanders with a melancholy tone for most of the runtime (which comes to 87 minutes). The story opens with Rooney Mara and Casey Affleck living their lives as most do, working on various projects and staying close to each other in proximity and in love. However to have a story about a ghost, someone has to die.
That someone is Casey Affleck. After his life ends abruptly in an auto accident just yards from his house we follow him in his ghostly form for the rest of the film. He passively watches his widowed wife grieve and attempts to console her to no avail. However, time in the afterlife soon becomes.. slippery and large pockets of time begin to wash over him. The Ghost stays in what was once his home long after his wife leaves. A character trait, we later learn, that is leftover from his fleshy form as he lingers and watches, listens, and sometimes even haunts new tenants over the years. There is a monologue during a party in which one man describes the inconsequential efforts of humanity to remain after we have left this mortal plane. Among a house of young people drinking and dancing one vocal participant voices this notion. It's a small moment that is the heart of the movie's message-"We build our legacy piece by piece," he says, "and maybe the whole world will remember you, or maybe just a couple of people, but you do what you can to make sure you're still around after you're gone." It's a moment that stays with you as the ghostly figure transcends what must be decades upon decades as the plot of land that was once the site of his small house becomes the ground floor of a skyscraper's construction.
Shot in square 1.33 Academy ratio frame with rounded edges the film gains a level of intimacy that few films can compete with. Shooting this way paired with the emotional clarity of always placing the ghost in the frame as he wistfully looks on crafts a sense both haunting and hypnotic. Though admittedly I don't mean to place this film upon a pedestal of importance through this review, it's simply a small film with a $100,000 budget and a few big names actors meshed together to create a satisfying note on the poetic nature of time's infinity and how we all cope with that in our differing ways. If you have the time and the patience for a film like this, I suggest giving it a shot. Though if you know what kind of viewer you are and can't sit through Rooney Mara cry/eat an entire pie for a couple minutes, you might not enjoy this one.
Final Score: Two ghosts and a monologue
Review: Blade Runner 2049
Posted on October 7, 2017 January 4, 2018 by spacecortez
Written by Michael Green and Hampton Fancher and directed by Denis Villeneuve "Blade Runner: 2049" has finally released thirty-five years after the original "Blade Runner" hit cinemas in 1982. Ridley Scott's film may not have done all that well in its box office run but has since become a titan of science fiction influence grasping through the decades to expand its drudgy, wet, and dismal reach. A sequel to "Bladerunner" could have been a cash-grab from a greedy, blockbuster-foaming studio-but much to the relief of fans of the original, and newcomers to the franchise, "2049" stands apart from the original in scope and sensibility but feels entirely part of the world that Ridley Scott brought to life decades ago. In short- this sequel is as good as anyone could have hoped for and a brilliant film in its own right.
This is a film that deserves a second viewing, almost near demanding the audience of it in order to digest everything that we're presented with. Luckily, the film is gorgeous and a beautiful spectacle to behold. The sights and sounds of this film are why I go to the movie theater. This is an absorbing film experience. Roger Deakins, the cinematographer of the film, has earned the accolades that the critics have been heaping on him. In this version of the future Los Angeles, it snows. The mountainous monoliths of architecture feel familiar, yet dwarf the landscape of the original in this labyrinth of buildings crammed and squeezed together. The encroaching tendrils of mother nature are kept at bay with gigantic walls to bend the ocean to our will, overbearing and frequent snowplows meander the street pushing heavy wet snow out of the way, and when it rains; it pours a near never ending deluge of water. The score is another gigantic factor in this film as Hans Zimmer and Benjamin Wallfisch insert enough auditory callbacks to the bellowing synth of the original while also playing with some powerful tones that reminded me of a sort of Mongolian throat singing crafted to foster a sense of inescapable doom. I really loved that the film was perfectly happy to let a quiet scene play out in contrast to the overwhelming score in other scenes. Pairing sight and sound like this created something of a vacuum seal of immersion for me, it was enrapturing. The way Deakins frames each scene is a treat every time a scene cuts to a new location or new character. It's every DP's wet dream of colors and movement. Not to mention the exquisite use of lighting, shadows, and silhouettes- film professors and students will likely use this as an example for years to come. So, the film is beautiful-but does the story serve this visual feast?
Yes. I will leave all spoilers to be discovered upon viewing as that's how I saw the film the initial time and my viewing was that much richer of an experience because of it. I will say though that as far as the performances go, every actor and actress pulled off believable, charming, brooding, and menacing roles that fit the world and the story perfectly. Some have criticized Jared Leto's performance as "just another weird role from him" and while his character is definitely egotistical and over the top-that's part of the character's personality and it makes sense given the context of the film. I see no major faults in any of the performances, they fit the mold, and more importantly, the feel of "Bladerunner". Particularly surprising and equally delightful were Ana de Armas as Joi the artificial love interest of Ryan Gosling's officer K, and Sylvia Hoeks as Luv, the fierce and terminator-like personal replicant servant of Jared Leto's Niander Wallace. Both women showed off strong and powerful performances that helped to tie everything together in a painful and lonely punch to the gut. Speaking of which, Ryan Gosling's performance as Officer K is the linchpin of this whole film, if he couldn't sell his character's story as efficiently as he did, the film would have fallen apart. He also gets his fair share of being on the wrong end of many fists throughout the story. After "The Nice Guys", and now "2049", Gosling might just be the character actor casting agents seek out when they need a protagonist that can take a few punches to the face while keeping his cool. Of course Harrison Ford cannot be forgotten, he may have given the best performance so far in this recent character revival of his. He wasn't overused and he was absolutely integral to the plot in a way that was far bigger than I had expected out of this story. Lastly, it must be said- who doesn't love Dave Bautista and how he has grown as an actor in these recent years? His role here as Sapper Morton was touching while retaining the fact that he's a force to be reckoned with.
There is a large effort here to posit many philosophical questions about the nature of life and humanity, and while the film doesn't always answer what it asks- it ponders them with considerable thought. There is, of course, the premise from the first film that still holds a place in the story questioning what is it to be human? "2049" expands on a deeper analysis of similar topics. What is the cost of slavery, and subsequently what does it mean to be free? What is a soul, and how do we decide who has one and if that means that humanity is better than the machines that experience life almost as equally as we do? What is an identity? What is real, and does it even matter? This is post modernism at its peak. The film also cleverly hides a litany of literary references and classic literature buffs will likely delight in the joy of recognizing the prose of Nabokov's "Pale Fire" in a $150 million dollar blockbuster sci-fi film. From "Treasure Island" to "Peter and the Wolf" and Charles Dickens, the film steeps itself in remnants of our past to better situate itself as an awful outcome of our own history.
"Blade Runner: 2049" is a feat of science fiction filmmaking and I personally got a lot out of the film and will be seeing it in theaters at least once more. It's worth mentioning that this is a very long film and it is a slow paced one at that. While there is a lot more happening in this story than the original it takes its time to tell us. This film will not be everyone's favorite film of the fall, some might even outright hate it-but if you enjoyed the original film and you have a love of film, especially genre films, you will probably find something to love in "2049", I certainly did.
Final Score: Nine off-world planets
"Twin Peaks: The Return" A Meditation on Auteur Television
Posted on October 2, 2017 October 31, 2017 by spacecortez
*As this is a reflection of the Third, and likely last, season of Twin Peaks-there will be Spoilers. You have been warned*
Now that David Lynch's return to Twin Peaks has ended we can try to analyze and understand just what exactly it was that he shared with us. Throughout the return's airtime I often heard the idea floating around that even attempting to analyze David Lynch's work could lead to courting madness, it was as if every time something enticingly odd happened onscreen viewers would wave their arms about and chime "You're just being weird for weird's sake Lynch!". Personally, I disagree with that notion. While Lynch's work lives and breathes in the weird and the unexpected, it does not mean it is void of structure and meaning. Like a good book that delves into ideas both ambiguous and abstract, Lynch toys with the fabric of reality in his own constructed worlds, but especially with the accepted "rules" of story structure. I once had a great art teacher that said "You do have to know the general rules as you begin. However after that everything's in play and you can figure out which rules were inherently meant to be broken. Sometimes you have to burn down the idea to see what works and what doesn't. Art is subjective after all."
At the beginning of 2017 I started watching the initial two seasons of "Twin Peaks" that had originally aired in the early 1990's and became entranced by the show's evolving state of storytelling. It had cryptic dreams about otherworldly places and beings, but it was also a murder mystery surrounding the death of homecoming queen Laura Palmer (Sheryl Lee), and yet the show weaved the supernatural and the unknown with slapstick moments of comedy paired with a near constant outpouring of intense emotions from many of the residents of Twin Peaks. It was a strange and fascinating microcosm of life. I ended up finishing the series the day that the coveted third season aired it's first two episodes on Showtime. I might have been one of the few people to ever get instant gratification from the notorious cliffhanger ending of season two and dive immediately into The Return. Oh, what a return it was.
There are a few major themes that I believe the show was attempting to convey or express. I won't claim to be an expert of David Lynch's work, or to even fully understand Twin Peaks itself, but there were some fairly present ideas in this third season. The first, and most important, factor going into this season of the show was patience. There were countless scenes where the camera would linger on an actor's face as they processed information, tried to remember something relevant, or as they were simply ambivalent about the world around them. Hell, there's even a scene in one of the recurring locations across all seasons, The Roadhouse AKA The Bang Bang Bar, where a random employee sweeps the floor after closing time for roughly three minutes before we cut to a member of the Renault family answering a ringing phone only to get half the conversation. Not to mention that while fans were anxiously awaiting FBI agent Dale Cooper's (Kyle MacLachlan, who plays a variety of roles here) return to the world of the living to finish the fight against Bob (an evil host spirit of sorts that had been running free over the Earth in a doppelganger body resembling Dale Cooper's), they would have to wait a majority of the season to see him. What we got instead was Dougie Jones, a brain-fried version of the former agent that haphazardly slipped into a family whose father figure was yet another doppelganger (made by Bob this time) who traded places with the real Dale Cooper who had been stuck in the Red Room/Black Lodge for those last twenty-five years. Yes, I know, this is all very confusing to explain to anyone that has no familiarity with the quirks of the show. Again, I would encourage a hefty spoonful of patience.
Another one of the pillars of The Return that is touched on throughout the season is that of death. This part of the show isn't just a focus thematically, but one that breached reality for many of the show's actors. Several key players either died after they had shot their scenes for The Return or had passed away before production had gotten started. From Miguel Ferrer's character Albert, the ornery yet stalwart FBI agent that worked closely with David Lynch's Gordon Cole (the in-show director of the FBI) to Catherine E. Coulson's iconic portrayal of the prophetic Log Lady, many did not live to see the show's release. Some characters barely even made an appearance due to their health. Doc Hayward, for example, only appeared once to talk via Skype to Sheriff Truman (Robert Forster, not former Sheriff Truman Michael Ontkean) and was never seen again. He was portrayed by Warren Frost, father of Mark Frost who co-created the show with David Lynch. After much thought on the theme of death in the show, I feel that Lynch might see death as more of transitional experience than one of black-and-white finality. We can see this in Kyle MacLachlan's character arc for Dale Cooper. The character goes through a hell of a lot in The Return and he changes by the end of it, never going against his steadfast nature of goodwill upon the world, but by traveling through either dimensions or parallel earths, he continues onward with motives in his actions and nature, but there is still change. Change is the only constant in the universe after all.
Another tenant of the series here is the simple act of storytelling. The art of storytelling is alive and well in The Return as many characters tell stories to each other. Some of it is your usual exposition to fill the audience in (Especially useful for Twin Peaks to cover bits and pieces of the monumental quarter-century gap between it's seasons). Some of it has nothing to do with the characters we know about, but instead about tertiary events and storylines taking place in the world of Twin Peaks. It's occasionally used to introduce entirely new characters at a moment's notice and explain their motivations and how they fit into the puzzle, while other times it is only for information gathering. The Monica Bellucci dream sequence in part fourteen is an excellent example of this as it weighs heavily with dreams, imagination, and exposition. In the opening of the episode Gordon Cole tells Albert and Tammy (Chrysta Bell as the new FBI recruit) of a dream he had involving Monica Bellucci. We begin in a black and white scene in which Gordon hazily recalls being at a street-side cafe in Paris. He starts by noting that "Cooper was there, but I couldn't see his face.." She brought friends and they all sit and share a coffee. As he's sitting across from Monica she asks him "We are like the dreamer who dreams and lives inside the dream, but who is the dreamer?" She then looks over his shoulder and Gordon curiously, and with unease, turns back to see a scene ripped directly from "Fire Walk with Me" (The Twin Peaks Movie fitting in between seasons two and three-but also being a prequel to the series), only now in the dream's black and white coloring, in which a younger version of himself is sitting in the FBI offices as he listens to Agent Cooper tell him about a dream he had, just before Philip Jeffries (David Bowie, whose character plays a big part in The Return and had to be reworked after his death as well) barges in and points a finger at Cooper. He asks Gordon, "Who do you think that is there?" which startles Gordon into remembering that very moment. Given the context of the show up until that point, this scene now carries more weight, and guides Gordon's thought process towards the truth.
There's a great scene near the last few episodes when Norma (Peggy Lipton) has been considering franchising the RR cafe that has become a well known staple in both the town and the world of Twin Peaks. Norma eventually declines this notion, the other locations won't take her recipes and handle them with care, they are simply looking to take the idea of the Double R and replicate it without taking the time or the details into consideration. The other restaurants follow her recipes only to profit from her success. They ignore her notes to get organic and naturally grown ingredients for their dishes and while this method may secure a firmer bottom line for the franchises' bank accounts, the final product is devoid of the parts that made it stand out from the crowd. This seems to me to be akin to Lynch laying out his thoughts on the creative process, the migraines of marketing, and selling ideas to those that don't get what made it special in the first place, and I can respect that.
Mark Frost and David Lynch made something ethereal with this return to their Twin Peaks property. Particularly so after watching and digesting the final two episodes of the series. Personally, I found this culmination of the show to be incredibly gratifying. I know some of the audience really despised the end of the show, but it's very nature isn't new to Twin Peaks. Part seventeen was essentially groundbreaking for a television show, circumventing expectation and giving fans a bit of what they wanted and other things that were likely as unexpected as it gets. I won't dive into all of the details, some things are best left discovered naturally, but I found it to be somewhat cyclical. A far cry from the cliffhanger that we got in season two. Who needs a resolution anyways? Twin Peaks is now open-ended because it symbolizes the conflict between the steadfast nature of good and the omnipresence of evil. This isn't something that has an end, but rather an ongoing cycle of the nature of the universe that humanity is tangled in.
Twin Peaks: The Return was an exciting experience for me because it defied all of my expectations of what a series is or can be, it even defied most notions of film structure. I applaud everyone that worked to make it happen and encourage all artists to create without bounds, we need more originality in our entertainment. Hopefully Frost and Lynch shook people awake from our own dreams so that we too may create something as odd and unexpected as Twin Peaks.