It’s a lazy Sunday afternoon and I’m watching Take Me Out on catch-up. It’s a cringe-y lol and the right level for my brain, ticking to a slower tock after too many gin and tonics last night. Except I’m not just watching Paddy – “let the angel see the delight”; “let the jal see the frezi” – I’m also on my phone. I’m checking what kimono Man Repeller’s wearing over which floral flares, and what pearl of #blessedwisdom Craig David is offering on Instagram.
Christmas movies used to be good. Even the bad ones, which is why it was a preternatural blessing when Mariah Carey released the highly anticipated teaser for her holiday movie and directorial debut, A Christmas Melody.
I don’t know what I was expecting when I first tried glassmaking, but from the moment I gathered molten glass out of a furnace on a metal blowing iron, I fell in love with the pale fluorescent glow of glass’s heat and the sound of the furnace keeping it alive for the maker.
As you arrive at a restaurant, you receive a message from your friend letting you know that they are running late. “Fine, no problem,” you reply, and it is fine, aside from wishing that they would just turn up now so those people around you looking into each other’s eyes and laughing as they eat don’t glance in your direction and think you’re here alone. The friend appears.
The other day, I had a nightmare. It was Wednesday afternoon and I’d been up since the night before writing a newspaper review of a translated science fiction novel called One Hundred by the Portuguese author Priscila de Araujo Severo. It’s about a detective who has an accident that leaves him with the power to see the future, without the ability to change it.
You’ve been gone so long now that the time we spent together almost feels like a lie. Although, on certain days, I swear you’re still here, a nightlight to ease my febrile brain. And, as an echo of your memory floods my mind, once again you illuminate the darkness with a warning and a promise… “DO NOT SLEEP” But it’s just a dream.
To the casual observer, Michael Mann appears to make stylish but conventional genre films. A closer look reveals a filmmaker who occupies a strange position in American cinema. One who works within the Hollywood machine yet also outside of it.