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About NBooth

  • Rank
    Collector of Oddities
  • Birthday 01/23/1987

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Profile Information

  • Gender
  • Location
    Wuhan, China
  • Interests
    Literature. Film. Music. The theater. Philosophy. Theology.

Previous Fields

  • Occupation
    Lecturer in American Literature, Huazhong University of Science and Technology
  • Favorite movies
    Top Ten (descending order):The Third Man (Reed, 1949) Mulholland Drive (Lynch, 2001) 2046 (Wong, 2004) Vertigo (Hitchcock, 1958) Zodiac (Fincher, 2007) Citizen Kane (Welles, 1941) There Will Be Blood (Anderson, 2007) Raiders of the Lost Ark (Spielberg, 1981) Once Upon a Time in the West (Leone, 1968) The Thin Man (Van Dyke, 1934)
  • Favorite music
    Top Ten (descending order):Bob Dylan,David Bowie,Nick Cave,Brandi Carlile,Josh Ritter,Bill Mallonee,Robert Johnson,Willie Nelson,Van Morrison,The Beatles,
  • Favorite creative writing
    Top Ten (descending order): Tristram Shandy,    The Idiot,    Absalom Absalom!,    Winesburg, Ohio,    Leaves of Grass,    The Adventures of Sherlock Holmes,    Calamity Town,    Our Man in Havana,    Kings Row,    A Sentimental Journey

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  1. Princess Cyd

  2. Star Wars: Episode VIII: The Last Jedi

    When you put it that way, it sounds Hegelian.
  3. Star Wars: Episode VIII: The Last Jedi

    Talk about destiny tends to be a very villain thing in Star Wars, anyway. Just as a rule--I think of Vader or Palpatine saying it more than, say, Obi-Wan. I'm not over the moon about the trailer. The Luke stuff is, at least, moderately interesting, but the rest of it is pretty meh. The porg made me want to throw something at my screen.
  4. Film Club April 2017: Cleo from 5 to 7

    I'm willing to watch any of them; High and Low is the only one I've seen, but if we went with it I'd be more than happy to re-watch. I mean, Kurosawa! [I'd also be up for Melville]
  5. Film Club April 2017: Cleo from 5 to 7

    HIGH AND LOW is really great.
  6. Film Club April 2017: Cleo from 5 to 7

    I'd be down for it. If you want to propose a movie for October/November, feel free. The semester is just starting for me, and I'm in a new place, so I have no idea how busy I'll be. But I'm always up for discovering new movies.

    Link to Darryl's piece. It's a good piece.

    I've said most of this elsewhere, but I went ahead and put together twelve inconclusive thoughts on The Return.
  9. Westworld--TV Show

    To be honest, I don't remember which performance I didn't care for. I actually remember very little of the season, which should put some perspective on how positive my remarks seem. I liked it and had fun watching, but it was competent, for the most part, rather than great (though there were some great bits here and there, mostly involving Hopkins or Newton).
  10. Untitled Wong Kar Wai web series

    Buried in an article about Amazon's shift in priorities regarding their original shows is this:
  11. Star Wars: Episode IX

    From your mouth to God's ears.
  12. Star Wars: Episode IX

    Trevorrow--too edgy for Star Wars?

    Same here. Or to questions people asked that are manifestly not within the show's real zone of interest.

    ASSUME SPOILERS Yeah, I really need to rewatch (the whole series, really) and digest some more. There's a couple of things that come immediately to mind: 1] This really is a show about Laura Palmer, as it has been all along, and about the prevalence of evil. Incest carries with it a particularly noxious stain to most people, which is why the incest taboo is at the heart of small-town books like Kings Row and Peyton Place. The double-vision of a bucolic town and its obscene underbelly has been present in the literature since at least the Revolt from the Village, and probably earlier (Twain does something similar, time and again). Twin Peaks is a lot of things, but at its core it's the same story of incest and victimization that faces Cassandra in Kings Row and Selina in Peyton Place (Laura is, in this construction, somewhere between Cassandra, who is murdered by her incestuous father, and Selina, who kills her abuser). 2] Insofar as small towns represent a microcosm of America (Sinclair Lewis: "The place is America...."), what they seem to suggest is that America itself is undergirded by an obscene incestuous secret. This is, of course, a Lynchian motif as well--the opening scene of Blue Velvet is essentially Twin Peaks writ small. In The Secret History, Frost ties Twin Peaks, the town, to the displacement of Native American communities (most notably, Chief Joseph) and the whole bloody history of westward expansion and growing imperialism. The Return does the same, in two ways: first, by taking the show "on the road," it suggests that the dark forces at work in Twin Peaks are a small part of the larger cosmic forces (small-town hick villain BOB is defeated by punching him really hard, but The Experiment is different because she is more diffuse. Secondly, the history of Twin Peaks is tied to the Bomb, which is the morning star of American Imperialism considered as a global, rather than purely continental, phenomenon. 3] The focus this season is interesting in that the evil is specifically maternal--as opposed to the paternal evil of Leland and BOB. The Experiment/Mother/Judy is thus tied to fecundity rather than aggression (I'll leave out the whole Zizekian thing about the maternal superego, though I imagine something could be done with that). If Lynch is Gnostic (as, for instance, The Strange World of David Lynch suggests), then The Return would be the clearest picture of that, insofar as The Experiment is a demiurge, creating and recreating the world in which these characters live. Is this, then, the obscene secret at the heart of the universe? That all we are and seem are but a dream within a dream, and that dream is not the incantation of a good God but of a malicious one? 4] Sarah Palmer, as a host of Mother (maybe) and the 119 girl both offer more dark mother imagery. 5] Speaking of Sarah--I've held for a while that she knew, or at least strongly suspected, what Leland was up to. The performance in Fire Walk with Me leaves little doubt in my mind as to that. So, symbolically, her infestation by Mother suggests the guilt attending her over the past 25 years, looking back and knowing that she knew or suspected and yet did nothing (from fear or disbelief or whatever). I find that very powerful. 6] Audrey's scenes, including the final shot, are essentially this season writ small. 7] On the least interesting level possible--lots of good stuff about the cliffhanger and Lynch's refusal of closure, but the ending also speaks to Lynch/Frost's seemingly genuine love of television as a way of telling stories. Lynch famously never wanted to resolve the Laura Palmer killing, on the grounds that it was simply a motor for the rest of the story. The idea of a neverending, open-world narrative--a soap opera--has always been in this show's DNA, and although The Return shed much (though less, I think, than some folks assume) of the soapy stuff, it's still interested in the idea that stories don't have to end, that they can always spin out into new and unexplained territory. 8] I've been on the "no season 4" bandwagon for a while, but after the finale I won't, at least, be mad if they do another season. 9] Something needs to be said about that particularly unsexy sex scene, but I'm not sure what. 10] Kyle M deserves every award they can throw at him.