of VAMPYR and the perambulations of ass-kicking giants

in

Impromptu horn-honking parade down the potholed state highway last evening for the local girls' high school basketball team which made me think they won their state semis but it turns out they lost, an occurrence which sums up this area all too well but – unlike when OSU wins, loses, or draws – there were no overturned cars set ablaze: firetrucks were out wailing their sirens alofng the impromptu well-you-tried / go team / maybe next time parade so it wouldn't have mattered anyhow; the sidewalks are lined with the remnants of vicarious-living-through-the-efforts-of-others team spirit.

My VAMPYR "thinking of without actually rewatching though I'll get around to it I promise" consideration continues: this, from Mark Le Fanu's (a relative of "Carmilla" – the story upon which VAMPYR is at least partially based – author Sheridan Le Fanu) opening essay to the Criterion edition, "Vampyr's Ghosts and Demons," strikes an inspirational chord as it pertains to director Carl Theodor Dreyer's tastes:

"Notoriously, VAMPYR, his next work and first sound film, would fail to find an audience too, and, even more disasterously than JOAN OF ARC did, so it is worth emphasizing that this strange, hermetic, and experimental film was originally conceived of as, if not exactly a 'potboiler' (the concept is impossible in Dreyer's case), then at least something possessing – he hoped – healthy moneymaking possibilities."

Clearly, it did not: but that VAMPYR approach and my own complete inability to produce anything that could be construed as even remotely "popular" in spite of my love of genre rings so very true: elements/evidence of this in both MainFiction– and AnotherFiction– Projects, though AnotherFiction is most definitely an effort to write more straightahead, accessible (in keeping with my MAKING THE CUT runway and accessible look methodology – but only within the parameters of what I consider "accessible").

Finished REACHER's first season last night: solid (and my favorite Amazon show in awhile) – though I worry that, given the standard first season "getting used-to-it-ness" growing pains of the cast forming their bonds with the written material and with one another of which REACHER, like nearly every other show, was not immune, the "different book / location brought together only by a perambulatory, ass-kicking giant" per season will result less in increased cohesion and simply more first season "getting used-to-it-ness”: a shame to leave behind Finlay and Roscoe – though hopefully Neagley figures into the show’s future, somehow — though who knows, maybe there's a different plan for the series than strict adherence to the structure if not the contents of Childs's novels. All that said, well worth a watch.

Were one to construct a wordcloud of the three most oft-heard phrases in this house, they would be "Kirby, stop," "JesusFuckingChrist," and "What are you eating now?": this is the way / and so it is and so it goes.