I usually think of this as my second favourite Austen (after Pride and Prejudice, naturally), but on my re-read of all six, I found to my surprise that I didn’t enjoy it as much as I had Sense and Sensibility. Perhaps it’s partly because I had overdosed on screen adaptations recently: the Kate Beckinsale and Gwynneth Paltrow versions from 1996, the 2020 film with Anya Taylor-Joy, and the 2009 Romola Garai TV series. I really enjoyed all of them, but I guess having seen four rather different perspectives on the novel, the novel itself didn’t really have much more to show me.
I listen much more to whole albums than to individual tracks, so each year I pick the ten albums that I listened to the most (not counting compilations), as recorded on the laptop where I listen to most of my music. (So these counts don’t include listening in the car or the kitchen, or on my phone.) I limit the selection to no more than one album per artist, and skip albums that have featured in previous years. Then from each of those ten objectively selected albums, I subjectively pick one song that I feel is representative.
For this concluding post I’m finally talking about the MCU proper, in which the Hulk is played by Mark Ruffalo starting with Avengers (2012), as distinct from the 2008 movie The Incredible Hulk which is nominally part of the MCU but tonally and narratively quite different from the rest of it. I’m talking about this guy:
He has brief irrelevant cameos in post-credits scenes in Iron Man 3 and Captain Marvel, which we will ignore, but is a major character in five films: Avengers, Age of Ultron, Ragnarok, Infinity War and Endgame.
I’m making my way once more through all six of Austen’s completed novels, and was interested to see how this one would hold up. Although published posthumously it was actually the first one she completed, and bears many of the marks of juvenila — including a lot of pop-culture references that are now lost on us, and were probably already outdated by the time it was published fourteen years after completion.
We live in a content-saturated world. It took me a long while to get used to the idea that books are now easy enough to source that I can start one, decide I don’t like it, and just give up. I don’t owe the book anything. The same of course goes for TV shows and films. Here are some that I have started, but given up on in the last few months.
This is the one that I sort of regret giving up on, and might return to. Continue reading →
One of the better ways to approach Chesterton is through a collection like this one, consisting of 30 or 40 or so short, self-contained pieces in which he thinks about things he has seen or done. He is always a keen observer, quick to see beneath the surface of things, and able at drawing analogies between trivial occurrences and the most profound matters. And of course, he is fun.
The pieces collected as Tremendous Trifles vary rather wildly in quality, but in any one of them fails to appeal, there’s always the knowledge that the next one will be along soon. It’s the second time I’ve read this (see my notes on the first time), and won’t be the last. Continue reading →
Elton doing what he does best, colliding a cast of somewhat stereotypical characters (the corrupt politician, the drugged-out singing star, the teenage runaway) and working with the sparks that fly — and doing so with rather more craftsmanship than he is often credited with.
I don’t quite remember what the specific stimulus was for my starting to re-re-re-read Lewis’s classic Narnia books. But this must be at least the tenth time through, going back to when I was eight or nine. (These are often referred to collectively as “The Chronicles of Narnia” but that it exactly what they are not. They are stories, with no pretense to historic verisimilitude or exhaustiveness.)