Letterboxd — Your life in film

being 'just a girl' thematizes personal fruition in a way you rarely see in this era of girls comedy and differentiates their uniquely emboldened fantasies. the creation itself takes only some of the wrong influences of mary tyler moore, but every final episode has an implied...

goodbye, tuscon high school,
farewell, sandy frink,
it's a long long way to venice beach,
but my heart's right there.

kindness, as the agency against the passive syntactical sexual economy. happy memories for a happier future, high school extends forever.

something new, just out of reach on the horizon, for eternity. like the flash of a lightbulb. wish this was just a 2hr documentary instead tbh.

self-serving in that it actively railroads the issue into remaining captive to that same form of univocal cultural structure that sustained savile's celebrity throughout his lifetime. catharsis for his associates under the ontology of relational memory.

drapes (flags, sails, curtains, rugs) that conceal (inter-institutional tension); power among the family, speaking in metaphors. it all explodes in a remarkably un-physical act of violence. verticality and reorientation, cultural geography and the royal navy's strategic depth. the uniformed police hypothesis supports such a coordination of matters that nevertheless fail to center hong kong in rediscovery following reactive imperial expropriation.

this one's all sentiment for me. growing up doesn't mean you don't still love that which you've come to remark with such a casual indifference. the restaurant was always bob's ideal, his happiness; but never as much as his kids. beginning again (fourth time's the charm!) but this time understanding your parents' reasoning—that this drives the conflict between the fischoeders is no accident certainly. reminds me of the very brief very dear ending speech bob gives to gene at the end of s05 e05, "listen gene you may get distracted from time to time, but i love you and i love who you are." <3

contracted a small fear going into this that i would be the only person there not laughing at cult-of-cage branded superimposition of multi-textual resignifying narrative forms of cinematic history &c. &c.

i was indeed not laughing.

intersex body horror, the primordial man and cycles of urbane traumatic self/re-definition. sarah everard and english paganism in the mysticization of a seeded geographical belief under the purview of divine will, reintegration of oppression against the kyriarchal discipline of hermeneutic subordination. agamemnon had it coming.

i'm not being unfair with you. an interesting response to the didacticism of the teachers' teachers present in wiseman's '68 film. both engage with this theme, but the long revisitations of space and topic and form in the debate and praxis of schooling here really reveals the power that underpins any ostensible development of thought in ideological production of socio-democratic concerns. engagement with the fundamental principles of society drawn attention to by the discursive camera.