Under the Eye: “Night”

“Night”

After the “before-time,” after the long-long-ago, June and her class of handmaids-in-training are being led to orientation as Aunt Lydia calls them, a “a parade of sluts.” Really? She wants the handmaids to “humble themselves” in the eyes of the Lord, which requires lowering their heads in front of Aunt Lydia, which would suggest Lydia is “the Lord.” Is that the inference here? Later, June is put in a dark room where she is given an identification tag punctured into her ear; a very painful process, Lydia promises her. In the present, June returns from shopping with the package the butcher gave her. She secrets the package under her bathtub. She exits her room and is immediately struck by Serena. The hit is so hard she slams into the doorway and falls down. This is Serena. This is what she is. When you have no compunction or hesitation with regard to striking a fellow human because of your personal anger, you become a threat to everyone around you, especially the children you so desperately want to have. In my estimation, this woman should never know a moment’s happiness in her life. Love and joy should become silent, staring strangers. Serena is livid over the discovery that Fred took June to Jezebels. Rather than take it out on Fred, she beats a woman half her size. Serena makes June take a pregnancy test. It is positive. Maybe Serena won’t strike her so hard the next time. Serena and Fred argue in his office. Fred tries to assert his “God-given” dominion over Serena. Serena tells him June is pregnant, and that the child is not his. Why should we care? Why does the writer want us to care about their petty squabbles? Monsters being monstrous to each other elicits no sympathy from me.

The TSA has really gotten out of hand!

Rita is positively giddy over June’s pregnancy, serves her a breakfast of eggs and oatmeal. Serena tells Nick she’s pregnant. Nick wants to be all daddy-daddy with her, but she, wisely, think it’s inappropriate given the circumstances. Serena watches over them and fumes. This is her baby, damnit! Serena orders her to the car. Meanwhile, Moira, after having ditched the car from the previous episode, flees on foot, discovers she has made it to Ontario. What the … ? Well, that was easy! After a short drive, Serena and June arrive at what looks like a school. Serena exits, goes inside the building and brings out Hannah, June’s daughter. Serena does not permit a family reunion. She instead sits with Hannah on the steps and talks with her. June goes ape-shit inside the car. She can’t get out because the doors are locked. Hannah goes back inside. Serena gets into the car, in the front seat this time. Serena suggests that no harm will come to Hannah if no harm comes to the baby growing inside June, which causes her to unleash all manner of insult. This show is sick. Janine’s former Commander from the previous episode confesses to his sexual impropriety with his handmaid. Interesting that her words would be more powerful than his, him being a man and all. He could’ve called her a liar and been done with it. She’s just the dirty slut, one-eyed batshit crazy Janine. Why would anybody in this total nightmare world believe her? As punishment, his left arm is amputated, and we see the amputation in graphic detail, but at least he’s been anesthetized.

A farewell to arms.

June seeks solace with Nick in his upstairs Fonzie-style garage apartment, but he isn’t there, so she goes to visit Fred. She needs his help. She needs him to protect her daughter from Serena. Fred finds this dubious, but June tells him he doesn’t know his wife. Fred asks if the baby is his. June lies, and I do think Fred sees through the lie. Later that night, June finds the package and opens it. It could be anything. It could be bullets. It could be a bomb. It could be chemicals for a bomb. It isn’t. It’s the most stupid device this series has yet unraveled. Letters. Fucking letters! This is what was so important? These are confessional letters about what the handmaids are going through. People were already starting to get stories of the handmaids back in “The Other Side” and that was three years before! This is what Mayday is fighting for? June stays up the whole night reading the letters. Why?! In Canada, Moira is put through the refugee system. She’s given money, a phone, and an I.D. card. Samira Wiley (Moira) does a very good job here of trying to remember what it was like to be free before all of this began. She’s equal parts shell-shocked and confused. This is where the show succeeds. Fred and Serena argue some more, and they seem to reconcile, but again, I don’t care. Monsters being nice to each other elicits no sympathy from me. Early morning vespers and roll-call in the park. The handmaids are given rocks and told to stone Janine to death for her transgression of stealing her baby and jumping off the bridge. Janine, being her sweet, broken self, asks the handmaids to not hit her “too hard, okay?”

“It isn’t fair, it isn’t right,” Mrs. Hutchinson screamed, and then they were upon her.

Ofglen protests. She doesn’t want to kill Janine. A Guardian strikes her and she falls to the ground, the gun trained on her. They drag her away. You have an assemblage of handmaids with rocks in their hands, and Guardians with machine guns pointing those guns at them. Aunt Lydia tries to control the situation. It’s amazing it hasn’t escalated completely out of control with Guardians mowing down these handmaids, as they are worth less than nothing. June drops her rock and smart-assedly apologizes. It becomes a Spartacus moment for the group and everybody drops their rocks and apologizes to Aunt Lydia. She sends everybody home and tells them to think about what they’ve done. Uh, mercy? Compassion? These are simple human concepts. Oh, but Lydia warns, “There will be consequences.” Such is the control Gilead has over the handmaids that they are free to walk home without supervision, without a Guardian presence. None of this makes any sense. Either that, or Gilead chooses which rules it wants to follow. As June walks home, we’re treated to a reunion between Moira and Luke. Moira is still traumatized. Now this is good acting, and it really brings home the tragedy of human atrocity and violence. June considers herself in “disgrace” because of her action, but she isn’t the center of the rebellion. The center was Ofglen and her refusal to cast that stone. She was the one brave soul. June is a pretender. Everything she does is in service of her own survival. Guardians come to take her away. She tells Rita where to find the package full of letters. Nick tells her to go along with them, and this is how the first season of The Handmaid’s Tale ends.

* I’ll be back next week with a wrap-up of the first season.

Two Davids Walk Into A Bar: History of Cable (Audio Only)

Two Davids Walk Into A Bar: History of Cable “HBO”

Home Box Office (HBO) is an American premium cable and satellite television network that is owned by the namesake unit Home Box Office, Inc., a division of AT&T’s WarnerMedia. The program which featured on the network consists primarily of theatrically released motion pictures and original television shows, along with made-for-cable movies, documentaries and occasional comedy and concert specials.

HBO is the oldest and longest continuously operating pay television service (basic or premium) in the United States. In 1965, Charles Dolan, who had already done pioneering work in the commercial use of cables and had developed Teleguide, a closed-circuit tourist information television system distributed to hotels in the New York metropolitan area—won a franchise to build a cable television system in the Lower Manhattan section of New York City. The new system, which Dolan named “Sterling Information Services” (later to be known as Sterling Manhattan Cable, and eventually becoming the then Time Warner Cable which merged into Charter Communications in 2016), became the first urban underground cable television system in the United States.

Two Davids Walk Into A Bar: History of Cable “Pay-As-You-Look”

Cable television is a system of delivering television programming to consumers via radio frequency (RF) signals transmitted through coaxial cables, or in more recent systems, light pulses through fiber-optic cables. This contrasts with broadcast television (also known as terrestrial television), in which the television signal is transmitted over the air by radio waves and received by a television antenna attached to the television; or satellite television, in which the television signal is transmitted by a communications satellite orbiting the Earth and received by a satellite dish on the roof.

Cable television began in the United States as a commercial business in 1950, although there were small-scale systems by hobbyists in the 1940s.

The early systems simply received weak (broadcast) channels, amplified them, and sent them over unshielded wires to the subscribers, limited to a community or to adjacent communities. The receiving antenna would be higher than any individual subscriber could afford, thus bringing in stronger signals; in hilly or mountainous terrain it would be placed at a high elevation.

At the outset, cable systems only served smaller communities without television stations of their own, and which could not easily receive signals from stations in cities because of distance or hilly terrain. In Canada, however, communities with their own signals were fertile cable markets, as viewers wanted to receive American signals. Rarely, as in the college town of Alfred, New York, U.S. cable systems retransmitted Canadian channels.

Vintage Cable Box: Of Unknown Origin, 1983

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“Watch and weep, you furry fucker.”

Of Unknown Origin, 1983 (Peter Weller), Warner Bros.

1983 was the year of the yuppie. The unusual, one-line Google search engine description defines “yuppie” as a well-paid young middle-class professional who works in a city job and has a luxurious lifestyle. The term, being coined in 1982 by Joseph Epstein, points to the rise of baby-boomers finding employment (usually along executive, financial, and administrative lines) in the big cities; many of them living there, but others succumbing to the phenomena of white flight, the grand mass-exodus of white people to the suburbs when inner-city crime and racial tension was at an all time high. Peter Weller’s Bart Hughes is the test-case of encroaching yuppiedom in New York City (although expertly shot in Montreal).

Living with his wife, Meg (Playmate Shannon Tweed, in her first film), and their son, Peter, in a renovated brownstone, his apartment is astonishingly beautiful, tastefully decorated, with lots of space.  Bart has his sights set on a raise and promotion which will enable him to buy the apartment, and from the beginning of the film, he is depicted as straightlaced, clean-shaven, rocking suits and ties, and glad-handing everybody he comes across (but also, strangely, obsessive-compulsive as my wife observed).  His wife and child take off for a vacation and leave Daddy in the big city to make the money.  This movie is a kind-of Seven Year Itch but with a pesky rodent subbing for Marilyn Monroe.

It only takes a couple of days for Weller to lose the fragile grip he thought he possessed with regard to his controlled world.  It turns out he has a rodent problem.  Contacting exterminators proves futile, as the city is overrun.  With the help of his Super, he starts doing his own research, and in a very interesting scene (a dinner party with guests chewing on Cornish hen), he disgusts attendees with admittedly interesting factoids about rats, about the diseases they spread, about the food they consume.  The scene is revealing to me because the director, George P. Cosmatos, and screenwriter Brian Taggert, are obviously citing parallels between rats and yuppies.

Earlier this month, I chose to watch and review another horror movie about rats called Deadly Eyes.  Compared to Deadly Eyes, Of Unknown Origin is a virtual masterpiece of form.  Deadly Eyes is absolutely dreadful and silly, mainly because the visual representation of the monster in question looks so damned silly.  Little dogs, covered with “rat-like” fur but wiggling and moving like dogs.  As if the obsessive Weller at the end of his rope isn’t enough, we have more parallels; as in when he pounds on his ceiling with a thick copy of Melville’s Moby Dick.

The very beautiful Ms. Shannon Tweed.

By the final third of the film, Weller has completely lost it.  His work is suffering.  He earns the sympathy of his secretary, the ire of his rivals, and the befuddlement of his boss.  He constructs a torture and killing device out of a baseball bat, and he becomes completely obsessed with the idea of destroying the rat, even at the cost of his apartment and sanity.  He learns the logic of his enemy, and he revises his attack, eventually emerging victorious.  The movie reminds me of Martin Scorsese’s After Hours (1985) wherein our protagonist must dispense with his own logic in order to survive his ordeal.  This is such a fun popcorn movie, and Weller (as my wife noted, a child of James Woods and Jeff Goldblum in his unique mannerisms) is immensely entertaining to watch.

Sourced from the original 1984 Warner Bros “clamshell” VHS release (Canadian release – the paper is flimsy and oil-stained, I’ve noted this on the Canadian videos).  Also released on Beta, this movie did not have a release on Laserdisc, but it was produced for DVD.  As of this writing, the movie has not yet been released on Blu Ray,  The accompanying essay claims, “If it can’t scare them to death, it will find another way!”  The essay calls the movie, “… provocative and shocking suspense …”  Next time, we wrap up Vintage Cable Box’s Halloween 2016 Horror Movie Coverage with Drew Barrymore in Mark Lester’s Firestarter from 1984.

Our first cable box was a non-descript metal contraption with a rotary dial and unlimited potential (with no brand name – weird). We flipped it on, and the first thing we noticed was that the reception was crystal-clear; no ghosting, no snow, no fuzzy images. We had the premium package: HBO, Cinemax, The Movie Channel, MTV, Nickelodeon, CNN, The Disney Channel, and the local network affiliates. About $25-$30 a month.  Each week (and sometimes twice a week!), “Vintage Cable Box” explores the wonderful world of premium Cable TV of the early eighties.

Vintage Cable Box: “Strange Brew, 1983”

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“If I didn’t have puke breath, I’d kiss you.”

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Strange Brew (1983), (Rick Moranis, Dave Thomas), MGM/UA

We start on the big silver screen with a belching MGM lion, and that pretty much sets the tone for the motion picture debut of beer-drinking hosers Bob and Doug McKenzie (Dave Thomas, Rick Moranis); ostensibly a set-up for their movie-within-a-movie, Mutants of 2051 A.D., a hilarious no-budget sci-fi exercise that references Planet Of The Apes and The Omega Man. The crowd watching the movie grows restless and walks out demanding refunds. Moved by a distraught father’s story, Bob gives the man his Dad’s beer money.

Dad (voiced by Mel Blanc) demands beer. They try to scam their way into a free 24-pack of Elsinore with the old mouse-in-a-bottle trick, but they’re referred to the brewery. At the gated, electrified entrance, they rescue Pam Elsinore (the fetching Lynne Griffin) when the gates close on her car. Pam is there to receive compensation for the suspicious death of her father, John Elsinore, the former brewmaster. Bob and Doug fall backwards into jobs at the brewery, checking bottles for mice.

Brewmeister Smith (a fantastic Max Von Sydow) is making a mind-altering drug, which he will use to control the population of Elsinore beer drinkers with violent impulses.  After viewing “improvements” made by Smith (surveillance cameras, an empty cafeteria, and lack of employees), Pam gives him two weeks notice to pack up.  Brewmeister Smith orders Pam’s Uncle Claude (toadie Paul Dooley) to kill her, or at least incapacitate her.  Smith is using inmates from a nearby sanitarium to test his concoction, with orchestrated games of hockey, and it’s up to Bob and Doug to save the day.

Hosehead saves the day
It’s actually Hosehead who saves the day!

This is such a fun movie! After all these years, the material (originally a series of sketches for SCTV) holds up and is given the appropriate celluloid treatment. The characters break the fourth wall. There’s even a brief intermission. One of my favorite gags occurs right after the intermission. After Bob and Doug’s van plummets into the river and they are presumed dead, scuba divers are amazed to find them just fine underwater, drinking bottles of beer. When the diver flashes his badge, Doug reaches into his pocket and produces his driver’s license – all of this underwater!

Bob and Doug are framed for the attempted kidnapping of Pam. They are remanded to the sanitarium after being diagnosed as paranoid schizophrenics by the Court. With the help of retired hockey star Jean LeRose and the electronic “ghost” of Pam’s deceased father (not to mention Bob and Doug’s superhero dog, Hosehead), they rescue Pam and foil Brewmeister Smith’s plan to sabotage the upcoming Oktoberfest.

As directed by Moranis and Thomas, the scenes effortlessly transition, and the narrative is fast-paced. This is serious filmmaking, for a completely ridiculous story. A great deal of the dialogue feels largely improvised. While a sequel was planned (and eventually abandoned) for release in 1999, Moranis and Thomas never directed again, and that is unfortunate because they are gifted comedians, actors, and storytellers. A year or so after the release of Strange Brew, they would famously appear in Pizza Hut commercials.

Our first cable box was a non-descript metal contraption with a rotary dial and unlimited potential (with no brand name – weird). We flipped it on, and the first thing we noticed was that the reception was crystal-clear; no ghosting, no snow, no fuzzy images. We had the premium package: HBO, Cinemax, The Movie Channel, MTV, Nickelodeon, CNN, The Disney Channel, and the local network affiliates. About $25-$30 a month. Each week (and sometimes twice a week!), “Vintage Cable Box” explores the wonderful world of premium Cable TV of the early eighties.