I slipped a disc in my neck a week and a half ago and have been at best half mast since then. Slowly, slowly I am creeping back to a vaguely human state but in the interim wanted to peep that I am still alive. Peep. To soothe this savage beast there has been a great deal of L Word viewing (con Jostle and co.) and an almost complete inhalation of The Wire, Season 2 (con Yancey, naturally). Two episodes remain, and then I will be willing to more thoroughly chime in my praises on what is surely the finest show on fellavision (boy-friendly TV). Hell, TV in general. The show is seemingly impenetrable, distinctly unglamorous and typically visually unimpressive. It is also the single greatest explication of power theory ever to make it to the small screen. Michael Moore: If only.
Also I will write a real review of it later this week, but if you live in a city where The Wild Parrots of Telegraph Hill is screening, go see it immediately. (I believe it’s just LA, SF and NY right now, in keeping with the ever-narrowing nation-wide release). The film is small-scale; is, improbably enough, about birds; and caused me to cry for a full hour after I saw it. To contextualize said tears, I only cried for about two minutes after Million Dollar Baby. Which, for the record, I hope sweeps la Oscars. It was, well, the way Eastwood looks these days — steely, taut, full of heart.
More gator, later.