CDS AVAILABLE THIS WEEK
It's the Great Pumpkin, Charlie Brown - Vince Guaraldi - Craft Recordings
IN THEATERS TODAY
Breaking - Michael Abels
Funny Pages - Sean O'Hagan
The Good Boss - Zeltia Montes
The Invitation - Dara Taylor
Jane - Anna Drubich
Three Thousand Years of Longing - Tom Holkenborg
Traveling Light - Ivo Dimchev
COMING SOON
September 9
Where the Crawdads Sing - Mychael Danna - Decca
September 16
Bridgerton: Season Two - Kris Bowers - Capitol
The Gravedigger's Wife - Andre Matthias - Kronos
September 30
The Innocents - Pessi Levanto - Svart
October 14
Firestarter - John Carpenter, Jody Carpenter, Daniel Davies - Sacred Bones
Coming Soon
Claret - Oscar Martin Leanizabarrutia - Kronos
Hollywood Soundstage - various - Chandos
The Lord of the Rings: The Rings of Power - Bear McCreary - Mondo
Nope - Michael Abels - Waxwork
Psycho Storm Chaser - Andrew Scott Bell - Howlin' Wolf
Suoni Velati - Matteo Cremolini - Kronos
THIS WEEK IN FILM MUSIC HISTORY
August 26 - Humphrey Searle born (1915)
August 26 - Recording sessions begin for Miklos Rozsa’s score to The Hour Before the Dawn (1943)
August 26 - Alan Parker born (1944)
August 26 - Mark Snow born (1946)
August 26 - Ralph Vaughan Williams died (1958)
August 26 - Branford Marsalis born (1960)
August 26 - John Williams records his score for the Lost in Space pilot episode "The Reluctant Stowaway" (1965)
August 26 - Fred Steiner's score for the Star Trek episode "Spock's Brain" is recorded (1968)
August 26 - Nico Muhly born (1981)
August 26 - John Frizzell begins recording his score for Alien Resurrection (1997)
August 27 - Eric Coates born (1886)
August 27 - Sonny Sharrock born (1940)
August 27 - Miles Goodman born (1949)
August 27 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode "Nothing Ever Happens in Linvale" (1963)
August 27 - Dimitri Tiomkin begins recording his score to 36 Hours (1964)
August 27 - Lennie Hayton records his score for the Voyage to the Bottom of the Sea episode “…And Five of Us Are Left” (1965)
August 27 - Harry Geller records his score for the Land of the Giants episode “The Golden Cage” (1968)
August 27 - Jerry Fielding records his score for the Mission: Impossible episode “The Execution” (1968)
August 27 - John Williams begins recording his score for 1941 (1979)
August 27 - Geoffrey Burgon begins recording his score for The Dogs of War (1980)
August 27 - Johnny Mandel records his score for the Amazing Stories episode "One for the Road" (1985)
August 27 - Jay Chattaway records his score for the Star Trek: Voyager episode “Night” (1998)
August 27 - John Altman wins the Emmy for RKO 281; Joseph LoDuca wins for the Xena: Warrior Princess episode “Fallen Angel;” W.G. Snuffy Walden wins for The West Wing main title theme (2000)
August 28 - Ustad Vilayat Khan born (1928)
August 28 - Annette Focks born (1964)
August 28 - Duane Tatro’s score for The Invaders episode “Valley of the Shadow” is recorded (1967)
August 28 - Laurence Rosenthal wins his third consecutive Emmy, for The Bourne Identity; Lee Holdridge wins his first Emmy, for the Beauty and the Beast pilot score (1988)
August 28 - Bruce Broughton wins his sixth Emmy, for Glory & Honor; Christophe Beck wins the Emmy for his Buffy the Vampire Slayer episode score “Becoming: Part 1” (1998)
August 28 - Richard Hartley wins the Emmy for his Alice in Wonderland score; Carl Johnson wins for the Invasion America episode score “Final Mission;” Martin Davich wins for his main title to Trinity (1999)
August 28 - John Williams begins recording his score for Harry Potter and the Sorcerer’s Stone (2001)
August 29 - Anthony Adverse released in theaters (1936)
August 29 - Miklos Rozsa begins recording his score for The Miniver Story (1950)
August 29 - Victor Young begins recording his score to The Tall Men (1955)
August 29 - Fred Steiner's score for the Star Trek episode "Charlie X" is recorded (1966)
August 29 - Recording sessions begin for Richard Rodney Bennett's score for Sherlock Holmes in New York (1976)
August 29 - James Horner begins recording his score for Gorky Park (1983)
August 29 - John Williams begins recording his score for The River (1984)
August 30 - Conrad Salinger born (1901)
August 30 - Luis Bacalov born (1933)
August 30 - John Phillips born (1935)
August 30 - Axel Stordahl died (1963)
August 30 - Sol Kaplan's score for the Star Trek episode "The Doomsday Machine" is recorded (1967)
August 30 - Emil Newman died (1984)
August 30 - Bruce Broughton wins his fifth Emmy, for O Pioneers!; Bruce Babcock wins for the Matlock episode score “The Strangler” (1992)
August 30 - Jerry Goldsmith begins recording his replacement score for The River Wild (1994)
August 30 - Bernardo Bonezzi died (2012)
August 31 - The Sea Hawk is released in theaters (1940)
August 31 - Recording sessions begin for Bronislau Kaper's score for The Swan (1955)
August 31 - Alexander Courage's score for the Star Trek episode "The Naked Time" is recorded (1966)
August 31 - Robert Drasnin records his score for the Lost in Space episode "Forbidden World" (1966)
August 31 - Walter Scharf records his final Mission: Impossible score, for the episode “The Bank” (1967)
August 31 - Jeff Russo born (1969)
August 31 - Lalo Schifrin records his score for the Mission: Impossible episode “The Killer” (1970)
August 31 - Joel McNeely begins recording his score for Iron Will (1993)
September 1 - Franz Waxman begins recording his score for Sunset Blvd. (1949)
September 1 - Victor Young begins recording his score for Strategic Air Command (1954)
September 1 - Gil Melle begins recording his score for The Organization (1971)
September 1 - Jerry Goldsmith begins recording his score for Magic (1978)
September 1 - Ludwig Goransson born (1984)
September 1 - Marc Donahue died (2002)
September 1 - Erich Kunzel died (2009)
DID THEY MENTION THE MUSIC?
AFTER BLUE (DIRTY PARADISE) - Pierre Desprats
"If this all sounds like a lot to process, at times, it is. 'After Blue (Dirty Paradise)' is a singular stylistic vision, and it’s much less concerned with making sure you’re on the same page with its plotted machinations than in immersing you in its otherworldly glamour, in no small part assisted by an ethereal score by Pierre Desprats. And yes, with a runtime of over two hours, the persistent barrage can become exhausting, letting the novelty of its presentation wear thin as one becomes acclimated to the otherworldliness."
Leigh Monson, The Onion AV Club
"In his role as maestro, Mandico has assembled all the requisite elements and players to form a wholly original cinematic world. In addition to inspired casting (Pons and Löwensohn are particularly electric), that includes a hypnotic new wave score composed by Pierre Desprat; grotesquely visceral and otherworldly sets overseen by art director Thomas Salabert; rags-to-fashion costumes by Pauline Jacquard; and make-up artists Bénédicte Trouvé and Sarah Pariset."
Jude Dry, IndieWire
COSTA BRAVA, LEBANON - Nathan Larson
"'Costa Brava, Lebanon' is lightly embellished with magic realist flourishes, just as Nathan Larson’s pleasant score lets lightly humorous horns meld with more winsome, minor-key melodies. The bright, sun-splashed daytime, during which Joe Saade’s camera roves in among the chickens and the kids’ kicking legs, segues softly into more dreamlike, low-lit nighttime scenes that occasionally turn surreal."
Jessica Kiang, Variety
GONE IN THE NIGHT - David Baldwin
"Present throughout the entirety of 'Gone in the Night' is a frustrating push-and-pull motion. Where the premise succeeds, the storytelling method fails. Where the creeping score and cool-paletted cinematography do wonders to instill dread and anxiety in the viewer, the rapid editing and awkward scene transitions quickly disperse those feelings. And where Ryder gives a masterfully restless performance and Gallagher Jr. brings effortless charisma and charm to his role, Teague and Tju are distractingly cloying and cartoonish to no apparent end. In psychological thrillers, it’s practically a prerequisite that, throughout the story, there should be the feeling that something just isn’t right. Indeed, this is the case with 'Gone in the Night' -- just not in the way you’d hope."
Aurora Amidon, Paste Magazine
"This early section of the film should vibrate with anxiety, but uninspired framing, cutting and writing sap it of energy. Any sense of danger or darkness is not so much teased out as presented in bold and all caps: Al and Greta are cartoonishly creepy; Max is only slightly less cartoonishly dopey; consequently, the stakes feel low all around. The onus is on Ryder’s ability to elicit the viewer’s protective instincts, as well as an eerie score by David Baldwin, to eke out the tiniest sliver of tension."
Jon Frosch, The Hollywood Reporter
NOPE - Michael Abels
"One early sequence fools us into believing Peele will take the 'Signs' approach to alien life only to turn around and refute that after a sharply conceived 'sighting.' Though in an exponentially larger league, 'Nope' calls to mind 'The Vast of Night,' a recent indie, period sci-fi that gets by not on what it shows but in the atmosphere it evokes. To immerse us in its terror, 'Nope' relies on how the score by Peele’s regular composer Michael Abels disrupts the silence at precise instances in a sonic choreography with the sound design -- truly one of the most accomplished below-the-line elements on display."
Carlos Aguilar, The Playlist
"That creeping sense of the uncanny is underpinned by Michael Abels’s terrific orchestral score -- all jittery strings and drums like earthquakes -- and some magnificently loud and unearthly sound design. Lupita Nyong’o’s hellish croak in 'Us' is officially no longer the most terrifying sound in the Peele canon."
Phil de Semlyen, Time Out
"There’s a lot going on here, in other words, even before 'Nope' turns our attention toward that giant disc flying ominously overhead, unleashes a hellish rain over the Haywoods’ ranch and cranks up the volume on its shrieking, juddering soundtrack. (There are moments when Michael Abels’ nerve-shredding score plays like a veritable symphony of human screams.) But if the story is a welter of subplots, tangents and ideas -- to the point of being overly taken at times with its own conceptual daring -- Peele’s visual craft shows an admirable finesse and discretion. He long ago absorbed the key lesson of 'Jaws,' namely that what we don’t see is almost always scarier than what we do see, and that delayed gratification can amplify the power of suggestion. And so for a lengthy stretch he keeps his secret weapon a legitimate secret, with the unspoken assurance that everything (or at least a lot) will be revealed in due course."
Justin Chang, Los Angeles Times
"The second half of 'Nope' is a steady crescendo of action, terror, and suspense, with grand-scaled and at times horrifically violent set pieces that alternate between the theme park and the ranch. The 65mm cinematography by sci-fi master Hoyte van Hoytema ('Interstellar,' 'Ad Astra,' 'Tenet') captures the awe-inspiring otherness of the alien against a landscape familiar from Cinemascope Westerns of yore. Michael Abels’ score nimbly leaps from ambient horror-movie creepiness to a whistled Western-style theme straight from a Sergio Leone soundtrack. Also whirling around in Peele’s genre blender are Cold War flying-saucer pictures like T'he Day the Earth Stood Still,' the Cary Grant-in-a-cornfield chase from Hitchcock’s 'North by Northwest,' a cleverly re-imagined pull from Spielberg’s 'Jaws,' and at least one nod to M. Night Shyamalan’s alien-invasion fantasy 'Signs.'"
Dana Stevens, Slate.com
"Peele has assembled a first-rate cast, and the results are electric. Whatever shortcomings the screenplay may have in fleshing out their characters, Kaluuya, Palmer, Perea, Yeun and Wincott deliver memorable turns, successfully balancing 'Nope''s comedic notes with its more haunting, suspenseful overall mood. Hoyte van Hoytema’s engulfing cinematography and Michael Abels’ pulsating score help sustain the film right up through its transfixing end. It won’t be to everyone’s taste, but 'Nope' offers up a glutton’s feast for Peele disciples and fans of brainy sci-fi thrillers, ushering the director into an intriguing new phase of cinema that’s as rhapsodic as it is demanding."
Lovia Gyarkye, The Hollywood Reporter
SPIDERHEAD - Joseph Trapanese
"That said, Kosinski and his collaborators amplify the characters, their conflicts and conundrums with cinematic language. There’s strong visual dexterity in its use of montage, where Claudio Miranda’s cinematography and Stephen Mirrione’s sharp edits come into lockstep, ramping up tension and electricity, keying the audience into the stakes and psyches. Jeremy Hindle’s Brutalist-meets-Scandinavian-cabin production design and Amelia Gebler’s connective costume design clue us into the perspectives and personalities at play. Joseph Trapanese’s compositions, which oscillate from delightfully humorous to oppressively foreboding, complement the narrative’s tonal swings. Soundtrack selections like 'The Logical Song,' 'Feels So Good,' 'What A Fool Believes,' and 'Crazy Love' run concurrent to the escalating drama, exhibiting both sonic and narrative purpose."
Courtney Howard, The Onion AV Club
"Hemsworth plays Abnesti as such a hollow man that it’s clear early on that he isn’t what he seems. But he keeps the character grounded enough that he doesn’t spin out into Bond-villain territory. As a way of regulating the audience’s emotions, that performance is effective -- more so than the musical palette (jazz for sardonic moments, strings for sentimental ones), which is both manipulative and predictable. In general, 'Spiderhead' works better when it’s operating on a tongue-in-cheek register rather than a heartfelt one. Reese and Wernick’s attempts to add emotionally charged backstory to these characters play like the padding that they are; it’s obvious that 'Spiderhead' is a 106-minute film based on a brief, dialogue-driven short story."
Katie Rife, Polygon
SPIN ME ROUND - Pino Donaggio
"An interesting comedic exercise, this is Baena’s least eccentric outing yet (considering there are no jealous zombies or foul-mouthed nuns), but it’s perhaps his most narratively ambitious, in terms of its genre playfulness and a clear objective of dismantling its protagonist’s false illusions. Both the score (by veteran composer Pino Donaggio) and Sean McElwee’s cinematography go along with variations in tone. Just as the music goes from happy-go-lucky, jingle-like cheer to suspensefully ripe enough for a James Bond film, the lighting choices become more purposefully on the nose to reflect the terror Amber perceives all around her. There’s a thematic and practical synergy that’s far more impressive than some of the dry-humor gags that don’t amount to much."
Carlos Aguilar, The Wrap
"As Nick seduces Amber, the film plays with romance tropes. A sequence where Amber is whisked away for a dreamy day on Nick’s yacht by his sullen assistant Kat (Aubrey Plaza) is filmed like a hazy fantasy, with swelling music and lots of close-ups on Nick’s face, eyes, and lips as Amber daydreams about a fling with a rich man while he tells her about his life. Unfortunately, this exercise in style alone doesn’t help the film reach the fully satirical heights it aims for."
Marya E. Gates, The Playlist
SUMMERING - Drum & Lace
"The opening sequence of James Ponsoldt’s 'Summering' sets up an idyllic summer in the suburbs, as four friends run carefree from yard to yard through sprinklers casting rainbows over the perfectly cut grass. Everything has a nostalgic patina to it, down to the treacly score mixed with the innocent laughter of the girls at play. 'The summer when it lasts, everything is alive and anything’s possible ... at least it feels that way,' a girl named Daisy (Lia Barnett) shares over a narration that is sporadically deployed throughout the film."
Marya E. Gates, RogerEbert.com
"The film opens amusingly, with four tween friends (Dina, Lola, Daisy, and Mari) in a game of hide-and-seek that’s shot and scored like a set piece in a suspense picture -- underlining that at this age, 'play' doesn’t feel like play, and your imagination can make the stakes of even silly time-killers feel high. They take off, running and giggling and somersaulting through the sprinklers, careening into the last weekend of the summer before middle school. Ponsoldt nicely captures the feel of having nowhere to go with your friends, with nothing to do but take long, wandering walks, chatting and imagining your future."
Jason Bailey, The Playlist
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
August 26
ALTERED STATES (John Corigliano) [Nuart]
APOCALYPSE NOW (Carmine Coppola, Francis Ford Coppola) [Alamo Drafthouse]
BLUE (Zbigniew Preisner) [Los Feliz 3]
INGLOURIOUS BASTERDS [New Beverly]
LE SAMOURAI (Francois De Roubaix) [New Beverly]
MAD MAX: FURY ROAD (Tom Holkenborg) [Los Feliz 3]
RED (Zbigniew Preisner) [Los Feliz 3]
THE ROAD WARRIOR (Brian May) [Alamo Drafthouse]
SOUTHLAND TALES (Moby) [Aero]
SPIRITED AWAY (Joe Hisaishi) [Alamo Drafthouse]
THEY LIVE (John Carpenter, Alan Howarth) [Alamo Drafthouse]
WHITE (Zbigniew Preisner) [Los Feliz 3]
August 27
APOCALYPSE NOW (Carmine Coppola, Francis Ford Coppola) [Alamo Drafthouse]
BEAUTY AND THE BEAST (Alan Menken) [New Beverly]
THE EMPEROR JONES (Frank Tours), PRINCESS TAM-TAM (Dallin, Goehr, Grenet, Alain Romans) [Academy Museum]
THE FLYING ACE [Academy Museum]
FOUR ROOM (Combustible Edison) [BrainDead Studios]
HACKERS (Simon Boswell) [New Beverly]
HAPPY FEET (John Powell) [Los Feliz 3]
HOT FUZZ (David Arnold) [Landmark Westwood]
THE KEEP (Tangerine Dream), THE RELIC (John Debney) [New Beverly]
LABYRINTH (Trevor Jones) [BrainDead Studios]
MAPS TO THE STARS (Howard Shore) [BrainDead Studios]
PADDINGTON 2 (Dario Marianelli) [Academy Museum]
RED (Zbigniew Preisner) [Los Feliz 3]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SPIRITED AWAY (Joe Hisaishi) [Alamo Drafthouse]
THEY LIVE (John Carpenter, Alan Howarth) [Alamo Drafthouse]
WHITE (Zbigniew Preisner) [Los Feliz 3]
THE WITCHES OF EASTWICK (John Williams) [Aero]
August 28
ALICE DOESN'T LIVE HERE ANYMORE (Richard LaSalle) [Academy Museum]
AMERICAN GRAFFITI [IPIC Westwood]
BABE (Nigel Westlake), BABE: PIG IN THE CITY (Nigel Westlake) [Aero]
CLASS OF 1984 (Lalo Schifrin) [Alamo Drafthouse]
BEAUTY AND THE BEAST (Alan Menken) [New Beverly]
HARRY POTTER AND THE GOBLET OF FIRE (Patrick Doyle) [Fine Arts]
HOOP DREAMS (Ben Sidran) [BrainDead Studios]
JUST ANOTHER GIRL ON THE I.R.T. (Eric Sadler) [Aero]
KEANE [Los Feliz 3]
KISS ME DEADLY (Frank DeVol) [Los Feliz 3]
THE KEEP (Tangerine Dream), THE RELIC (John Debney) [New Beverly]
RED (Zbigniew Preisner) [Los Feliz 3]
THE ROAD WARRIOR (Brian May) [Alamo Drafthouse]
SAW (Charlie Clouser) [BrainDead Studios]
SPIRITED AWAY (Joe Hisaishi) [Alamo Drafthouse]
THEY LIVE (John Carpenter, Alan Howarth) [Alamo Drafthouse]
TOPSY-TURVY (Arthur Sullivan, Carl Davis) [Los Feliz 3]
August 29
BREATHLESS (Martial Solal), BAND OF OUTSIDERS (Michel Legrand) [New Beverly]
DRUNKEN MASTER (Fu-Liang Chou) [Alamo Drafthouse]
FITZCARRALDO (Popol Vuh) [Alamo Drafthouse]
SPIRITED AWAY (Joe Hisaishi) [Alamo Drafthouse]
THEY LIVE (John Carpenter, Alan Howarth) [Alamo Drafthouse]
August 30
APOCALYPSE NOW (Carmine Coppola, Francis Ford Coppola) [Alamo Drafthouse]
ARREBATO (Negativo) [Alamo Drafthouse]
BREATHLESS (Martial Solal), BAND OF OUTSIDERS (Michel Legrand) [New Beverly]
DRUNKEN MASTER (Fu-Liang Chou) [Alamo Drafthouse]
DRUNKEN MASTER 2 (William Hu) [Alamo Drafthouse]
KEANE [Los Feliz 3]
LIKE WATER FOR CHOCOLATE (Leo Brower) [Academy Museum]
LOVE UNDER THE CRUCIFIX (Hikari Hayashi) [Los Feliz 3]
THE NEVERENDING STORY (Klaus Doldinger, Giorgio Moroder) [Alamo Drafthouse]
THEY LIVE (John Carpenter, Alan Howarth) [Alamo Drafthouse]
August 31
APOCALYPSE NOW (Carmine Coppola, Francis Ford Coppola) [Alamo Drafthouse]
BLOW-UP (Herbie Hancock) [BrainDead Studios]
DEMONOID (Richard Gillis), THE BROOD (Howard Shore) [New Beverly]
MANIAC COP 2 (Jay Chattaway) [Alamo Drafthouse]
SECRETS & LIES (Andrew Dickson) [Los Feliz 3]
SPIRITED AWAY (Joe Hisaishi) [Alamo Drafthouse]
THEY LIVE (John Carpenter, Alan Howarth) [Alamo Drafthouse]
September 1
THE BITTER TEARS OF PETRA VON KANT [Aero]
DARK MANHATTAN (Harvey Brooks, Ben Ellison), MURDER IN HARLEM [Academy Museum]
DEMONOID (Richard Gillis), THE BROOD (Howard Shore) [New Beverly]
PROSPERO'S BOOKS (Michael Nyman) [Los Feliz 3]
THE ROAD WARRIOR (Brian May) [Alamo Drafthouse]
SPIRITED AWAY (Joe Hisaishi) [Alamo Drafthouse]
September 2
THE BLOOD OF JESUS, HELL-BOUND TRAIN [Academy Museum]
DIARY OF A COUNTRY PRIEST (Jean-Jacques Grunenwald), A MAN ESCAPED [Aero]
DREDD (Paul Leonard-Morgan) [Alamo Drafthouse]
THE GODFATHER (Nino Rota) [Alamo Drafthouse]
JACKIE BROWN [New Beverly]
KEANE [Los Feliz 3]
L'ATALANTE (Maurice Jarre) [BrainDead Studios]
THE MUMMY (Jerry Goldsmith) [Alamo Drafthouse]
ONCE UPON A TIME...IN HOLLYWOOD [New Beverly]
PATHER PANCHALI (Ravi Shankar) [BrainDead Studios]
PULP FICTION [New Beverly]
September 3
ADVENTURES IN BABYSITTING (Michael Kamen) [New Beverly]
A BUG'S LIFE (Randy Newman) [BrainDead Studios]
HOT SUMMER IN THE CITY [New Beverly]
MEET ME IN ST. LOUIS (Hugh Martin, Ralph Blane, Roger Edens) [Academy Museum]
THE MUMMY (Jerry Goldsmith) [Alamo Drafthouse]
ONCE UPON A TIME...IN HOLLYWOOD [New Beverly]
PICKPOCKET [Los Feliz 3]
STORMY WEATHER (Emil Newman), THE DUKE IS TOPS (Ben Ellison, Harvey Brooks) [Academy Museum]
WILD AT HEART (Angelo Badalamenti) [Los Feliz 3]
September 4
ADVENTURES IN BABYSITTING (Michael Kamen) [New Beverly]
DIARY OF A COUNTRY PRIEST (Jean-Jacques Grunenwald) [Los Feliz 3]
DOG DAY AFTERNOON [Academy Museum]
THE GODFATHER (Nino Rota) [Alamo Drafthouse]
HARRY POTTER AND THE ORDER OF THE PHOENIX (Nicholas Hooper) [Fine Arts]
ONCE UPON A TIME...IN HOLLYWOOD [New Beverly]
STAR TREK II: THE WRATH OF KHAN (James Horner) [Fine Arts]
STEEL MAGNOLIAS (Georges Delerue) [Alamo Drafthouse]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: A Christmas Carol (Waxman); Missing Link (Burwell); Disney's A Christmas Carol (Silvestri); The Host (Lee); Crimson Peak (Velazquez); I Saw the Devil (Mowg); The Curse of the Cat People: The Film Music of Roy Webb (Webb); Parasite (Jung); The Devil's Backbone (Navarrete); Oldboy (Cho); Dragonfly (Debney); A Tale of Two Sisters/Three...Extremes (Lee); Dream House (Debney)
Read: The Loves of Faustyna, by Nina FitzPatrick [aka Nina Witoszek]
Seen: Beast [2022]; Reservoir Dogs; Slacker; DC League of Super-Pets; Spin Me Round; Cool Hand Luke; Boys N the Hood; The Immaculate Room
Watched: Hit!; The Deuce ("Pilot"); Star Trek ("Requiem for Methuselah"); What We Do in the Shadows ("Orgy"); The Boys ("The Self-Preservation Society"); You're the Worst ("There Is Not Currently a Problem"); Counterpart ("Shaking the Tree"); The Venture Bros. ("Spanakopita!"); Damages ("Don't Throw That at the Chicken"); 30 Rock ("Reunion"); The Deuce ("Show and Prove"); Highwaymen
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