for one think that the Shirelles were asking "Can I believe the magic of your size?" in "Will You Still Love Me Tomorrow?".
I became a "Lost" dork a couple of weeks ago when I was inadvertently exposed to the first season pilot by a friend. This resulted in my renting the entire first season and becoming engrossed. I typically am not a huge fan of supernatural entertainment unless there is double-penetration involved. "Lost" is not so much episodic television as it is one REALLY long movie which obviously required a lot of fore-thought in the writing process to weave the various story lines together. Even the way it is shot is more reminiscent of cinema than television. Hopefully its creators will take the story where ever I'm sure they've already planned and end it. If they begin adding bullshit things to extend the life of the show, it'll jump the shark for sure.
After all the hype about "Arrested Development" on my f-list for the past couple of years, I decided to rent the first two seasons of it as well. Definitely a funny show and certainly one of the quirkier things to come down the pike in a while. For you fans hoping that Showtime will pick this show up, I think this is the worst thing that could happen. A good deal of what's great about AD is what they get away with on broadcast television. It's funny because they have to bleep the language, use double entendres, and blur the nudity. Most of the humor is generated from the creative writing necessary to circumvent the censors and at the same time allow you to complete the joke or visual image in your own head. I think being on a pay/subscription channel will kill that.
Robert and I are kicking ass and taking names with concern to miles. We've been driving virtually non-stop for the past 36 hours. I've got the night-shifts right now as he's still on curfew and cannot drive between midnight and 6am, which is fine with me. I kinda like the peacefulness of the road at night.
Shadow Of a Doubt - (1943)
Director: Alfred Hitchcock
Cast: Joseph Cotton, Teresa Wright
Script: Thornton Wilder
When I declared my intent a couple of months ago to eventually see all of Hitchcock's films, dxgrrrl told me that this film was her favorite, so I moved it to the top of my list. By all accounts, it appears that this was Hitch's favorite film, too. Set and shot on-location in Santa Rosa, California it was Hitchcock's first American film, literally and figuratively. Hitchcock utilizes what was then idyllic, small-town America (decades before the likes of democritus and psycat90, dxgrrrl's brother in-law and sister respectively, would arrive and debase it) as much of a character as any of the human ones; innocence lost with the insertion of an evil element as a long lost and mysterious uncle returns home. By this time in his career, Hitchcock's use of lighting (particularly shadows in this film) and his amazing eye for framing shots within a set were at the point of mastery. Every scene exhibits an enormous and meticulous attention to photographic detail. Consider in the sequence of photos from the film to the right, as the family goes to meet the uncle as he comes into town by train. You first see the train in the distance, its ominous black smoke filling the sky as it nears. The little boy lags behind the rest of the family to watch the train to pull in the station and is engulfed by the shadow it brings with it. In some of the more complicated and longer shots, it creates a conflict of interest with the movie's contract with the audience and the suspension of disbelief, but the effect is so striking that you don't mind it and the characters/story is so engaging that you're easily sucked back into it. While it didn't go so far as to change my mind about Rear Window being my favorite Hitchcock film, it is definitely an achievement that shouldn't be missed.