First Video is up and running!
First Video is up and running!
The Oxford Symphony by Haydn
The show is also creative in how it handles the villains. Rather than an increasingly ridiculous series of accidents and coincidences, we have one accidental event (Electro), which directly leads to another (the electricity discharged during Electro’s rampage gives Doctor Connors’s Lizard formula an unexpected boost, sending it into overdrive), which then makes Tombstone realize that if Spider-Man is busy fighting supervillains, he’ll be too preoccupied to go after his crime empire.
So he hires Osborne to start making more, which gives Osborne funding and test subjects for his more “questionable” experiments. The show therefore quickly brings a large portion of Spidey’s excellent rogues’ gallery into play while continuing to tell a seamlessly coherent story, developing the already established characters, and without placing undue stress on the audience’s credulity.
That brings me to another aspect of the writing: it flows marvelously well from one episode to another. Actions and events have real consequences that may not come into play for several episodes down the line, meaning that everything the characters do has real weight. A thoughtless decision on Peter’s part in an early episode starts a chain reaction of events that continues to affect the story until the very end. When characters have to make hard choices on this show, we’re completely invested because we know it could affect the whole course of the story.
Read the rest here.
I discovered this tearjerking number by the late Jim Varney, which he sang for the film Earnest Goes to Camp and haven’t been able to stop listening to it. Enjoy.
A scene from the 1938 Frank Capra classic (pardon my repetition) You Can’t Take it With You.
The sad thing is, the things listed here would actually be worth paying for. I’d kill to have my income tax only go to pay for battleships and government salaries.
The clip is also interesting for featuring a really incredible set of star-power packed into five minutes of film. That the legendary Lionel Barrymore as Grandpa Vanderhof, the all-but-immortal Charles Lane (who was still making films in the 1990s) as the IRS man, James Stewart as young Kirby, and the inimitable Jean Arthur as Alice. Meanwhile, in the background, you can see character actors Ann Miller, Spring Byington, Samuel S. Hinds, and Halliwell Hobbs.
Amazingly enough, that doesn’t even come close to exhausting the familiar faces in this film: Eddie “Rochester” Anderson (most famous for the Jack Benny Program, and probably the premier Black comedian of the time) is on hand as the shiftless boyfriend of the family maid, hamtastic character actor Mischa Auer is a mad Russian ballet teacher, Edward Arnold is Kirby senior (giving the stand-out performance of the film), Donald Meek is another house guest, and H.B. Warner (one day to be Mr. Gower in It’s a Wonderful Life) shows up as a ruined businessman. And all directed by one of the greatest filmmakers of all time.
Of course, the real point of the above scene is that Grandpa doesn’t need anything from the government. In fact, they don’t need anything from anyone. Interestingly, part of the reason they don’t need anything is because they have the right to private property; Grandpa owns the house in New York City that they live in (truly the past is another country) and can basically do what he likes with it. If he wants to invite any interesting stranger to come and stay, and if they happen to stay for decades on end, well, what of it? It’s his house.
This is a frequent theme in Capra’s works; skepticism of the rich is blended with a strong regard for property rights, because, in Capra’s view, the right to own property ensures individual liberty. The Vanderhof family can do as they like and ask nothing from anyone because they own their own house.
Owning their own property also allows them to be charitable and contribute to society. The Vanderhof’s aren’t idle bums; they (in Grandpa’s words) “Toil a little, spin a little, and have a barrel of laughs.” Everyone produces something, and no one asks for charity (well, except for Rochester’s character, who’s a lovable bum…but so is Micha Auer’s character).
This calls to mind Ephesians 4:28 “He that stole, let him now steal no more; but rather let him labour, working with his hands the thing which is good, that he may have something to give to him that suffereth need,” which brings me to the other reason the Vanderhof’s don’t need anything from the government: faith and family. They support each other, and God supports all of them. Grandpa makes this explicit right off the bat when asked who takes care of them; “The same one who takes care of the lilies of the field,” and further emphasized by the scenes of him offering grace that bookend the story.
Personally, I’m very skeptical of Chesterton’s notion of ‘Distributism.’ Brilliant as he was, he had a glaring blind spot as far as economics were concerned (something he shared with many other brilliant men, including Theodore Roosevelt and Winston Churchill. It seems the qualities that make for philosophical genius tend to create gaps as far as economics are concerned). However, as an ideal for individuals, a self-sufficient household that asks nothing and produces worthwhile goods to support itself is something worth striving for. It is a very Christian and Biblical notion; each family supporting itself and providing charity to those in need from its own property, bound together by shared faith and love.
Property, faith, and family are the trinity that allows for individual liberty. In our world, we’ve largely lost all three to the extent that we hardly know what we have lost.
Here’s something cool: very rare footage from a “General Electric Theater” play that pits Ronald Reagan (playing an upright doctor) against James Dean (playing a crazed delinquent). This was just after Reagan left the movies for television and just before James Dean took Hollywood by storm. Dean’s mesmerizing performance here reminds you why he remains a legend to this day. Though personally, I was more wowed by the awesome image of the future President showing a nihilistic punk exactly why and how he sucks as human being.
How many Presidents have footage of themselves staring down a gun barrel, coolly assessing the weapon’s stopping power, and warning the other guy that he’d better hope it kills him? Damn, the fifties were awesome!
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The Price is Right
Prove All Things; Hold Fast That Which is Good.
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