Rap that still makes me giddy. Monie Love's so amazin'. Excuse me but I think I'm about due / To get into precisely what I am about to do
If I never hear dopey ol Tyler Florence say ultimate ("OOOULt!-imate") one more time it'll be too soon. Food Network is WAYYYYyyy over their limit for that word usage. And in context...it's annoying. Kinda WWE. Meaningless. No matter what you say, your version of fried chicken, Tyler, is just another version. And I can't even watch the FN new bake-off "Ultimate" show with the amateurs...it's so micro-produced that nobody even cooks. Really doesn't work from a production standpoint. Blech. Sara Moulton on PBS I saw this weekend...good fer her.
Thank you, D. From punditkitchen.com.
Minor Bette note: How did I never notice...the print on her dress in the scene in Now, Voyager, with her mother when she, erm, does the old biddie in: I'm pretty sure it's a Morris print (blackthorn, I think). It's so unusual for Hollywood to not make wardrobe out of whole cloth (as it were) that I wasn't noticing it, but I'm pretty sure that's a Morris print, Liberty silk or something. Would make sense for a brahmin.
More evidence I am not running this show: Cat #1 generally doesn't care too much about human food, but due to some gateway drug nibbles of Easter ham last month, she's now becoming a pill. Does that cat-stalking thing where she walks up you like you're a mountain and the piece of bacon is the holy grail, intermediary squeals of pain from the mountain notwithstanding.
Reviews fom the bin of Changing Social Mores:
Goodbye, Again, based on the Francois Sagan novel. 1961 and this is what Yves Montand says to Ingrid Bergman about her young lover (loopy Anthony Perkins), when she challenges him about his Gallic dalliances with young girls that she is supposed to allow him in their relationship: "At least those are normal!!"
Bergman is supposed to be 40 in the story (she's actually 45 but looks younger than both of those) and Perkins 24 (he was 5 years older too). Always interesting to watch society agonize about something we don't care so much about anymore. Looks fey. The interesting -- and French -- thing about this movie: its ending and how in the end both men represent compromise. Montand does not change; at the end we see her disappointed all over again with him.
More reviews from the bin of a bit odd by today's standards: Doris Day and Richard Widmark (!!) in the kinda weird Tunnel of Love (1958). It's all about contemporary ideas such as adoption and pregnancy, with a weird Peter de Vries satirical angle, making fun of the suburbs, but in an unchecked way that feels maybe uncomfortable these days (adultery being hilarious..ish). Doris and Widmark: strangely good together! Too seriously stereotyped actors, making everybody nervous...