What's on your Daily Viewing List? (2 Viewers)

[bujaki]

Dodsworth (WA BD) 1936. I never tire of watching this "perfect film." IMO, Wyler's finest films were in '36, '46 and '56. Figure that out. Dodsworth is a film that just keeps giving up its treasures every time one watches it. It's richly layered; its characters grow, some positively, others not; the story is so mature and timeless (where was the Code?); the acting, the direction, the script: everything just clicks in the right way. It's sheer cinematic bliss. The restoration adds to the joy of watching this transfer. @Tino, if you haven't watched this film, do yourself a favor. This is the perfect film.
Beau Geste (Kino BD) 1939. Oh, yes, I saw the original silent classic starring Ronald Colman in a 35mm nitrate print at MoMA in 1972. It seems that print is long gone, more's the pity. The Wellman classic is reputedly a shot-by-shot remake of the original (probably an exaggeration), which is not to minimize it. It's a rousing adventure tale of loyalty and villainy that holds our interest via its intriguing hook. It's still one of 1939 best films. Very good transfer.
Mr. Sardonicus (Indicator BD) 1961. Another William Castle production with a tacked on ballyhoo. Beautifully shot by Burnett Guffey and well acted by Hammer regulars, this is director Castle exploring Gothic horror, and he does it quite effectively. Sardonicus' face is inspired by Gwynplaine's visage in The Man Who Laughs, and is terrifying to behold (imagine in '61 when he shows his face for the first time!). Very good transfer.

 

[Tino]

@Tino, if you haven't watched this film, do yourself a favor. This is the perfect film.

Thanks for the recommendation Jose as I haven’t seen it. I shall remedy that.

 

[bujaki]

On Wellman's Beau Geste, I have done further research, and have found out that the original release in 1939 ran 120 minutes. The print was shortened by 6 minutes for a 1950 re-issue, and those minutes have never been restored.
On a curious note, a group of students from San Diego State used the standing set of Fort Zinderneuf to film a parody which screened 3 times in March 1940. Paramount demanded that the print and negative be destroyed. Fortunately, a video copy was discovered in 2009, and a documentary (The Lost Remake of Beau Geste) was produced. I saw at it a Mostly Lost symposium. It was directed by Frank Thompson, one of the pre-eminent scholars on the cinema of William Wellman.

 

[Matt Hough]

I really thought we'd see the rest of these in Blu but I guess I was wrong. We can always hope.
Nice viewing Jeff.

I think we will see the rest; it's such a popular series. The other five, while needing some work, weren't in nearly the sad shape of the first film and shouldn't break the bank to get them up to speed.

 

[BobO'Link]

A first time viewing:

 

[bujaki]

A first time viewing:
View attachment 74626

This film was cut for re-issue post-Code, and the footage was never re-integrated. A prime candidate for WA to scour archives for the missing footage.

 

[JohnRice]

Sunshine Cleaning (2008): Such a surprisingly wonderful film. One of my personal little favorites. Funny, sweet, and heartbreaking. What starts off as a light, quirky bit of Sundance-bait comedy suddenly evolves in the final act into something surprisingly moving and at times more than a little cathartic and painful. That cluster of sequences, a montage of events, that starts at the 50 minute point is simply beautiful, and the moment when this film becomes something I have grown to love.

 

[DFurr]

Decided to stream a little NetFlix tonight. "Don't Be Afraid Of The Dark". Not a bad little suspense/horror/drama movie but I wouldn't watch it again!!

 

[Robert Crawford]

On Wellman's Beau Geste, I have done further research, and have found out that the original release in 1939 ran 120 minutes. The print was shortened by 6 minutes for a 1950 re-issue, and those minutes have never been restored.
On a curious note, a group of students from San Diego State used the standing set of Fort Zinderneuf to film a parody which screened 3 times in March 1940. Paramount demanded that the print and negative be destroyed. Fortunately, a video copy was discovered in 2009, and a documentary (The Lost Remake of Beau Geste) was produced. I saw at it a Mostly Lost symposium. It was directed by Frank Thompson, one of the pre-eminent scholars on the cinema of William Wellman.

I still haven't watched my Kino Blu-ray yet. I'll do so in the next few weeks or so.

 

[Robert Crawford]

On Blu-ray from Imprint:

 

[Walter Kittel]

A friend of mine recommended a procedural currently being hosted by Netflix...

Hinterland - A well done noir-ish police procedural set in Wales. Watched S01E01 yesterday and enjoyed it quite a bit. Each season runs a limited number of episodes with a new case in each episode. Strong production values, particularly in terms of the use of environment and cinematography. Can't speak to the rest of the series, but episode one had some pretty dark content, and I expect the series will continue in the vein.

It sort of reminded me of Wallander starring Kenneth Branagh, in terms of being European and featuring outdoors locations to good effect. If you are looking for a procedural to watch, the first episode isn't a bad choice.

- Walter.

 

[bujaki]

I still haven't watched my Kino Blu-ray yet. I'll do so in the next few weeks or so.

When you watch it, I'll let you know which 6 sequences were cut. Two glaring examples were clear to me.

 

[Robert Crawford]

When you watch it, I'll let you know which 6 sequences were cut. Two glaring examples were clear to me.

I have watched this movie numerous times in my lifetime and as recently as last August so you can tell me now in this thread.

 

[bujaki]

Ugetsu (Criterion BD) 1953. Last seen almost 5 decades ago. Mizoguchi's tale of 2 humble couples. The men, driven by ambition, are separated from their spouses and unexpected events, some phantasmagorical, ensue. The camera moves almost constantly, using crane shots, dollies, etc., and the music is appropriately atmospheric and eerie. The finale, although somewhat sad, is life affirming. This film is another masterpiece from the great Japanese master.
Born Reckless (TCM app) 1958. From Mizoguch to Mamie. Van Doren, that is. Entertaining rodeo picture with Mamie singing and showing her fully-covered assets at very good advantage. Opposite her is granite-chiseled and impossibly handsome Jeff Richards, who is initially oblivious to her obvious charms. Where was he looking? Mamie sings (reasonably well), grinds with the best of them, and acquits herself well. Can you ask for more?
Jazz on a Summer's Day (TCM app) A National Film Registry inductee documentary. Shot in vivid Eastmancolor using multiple cameras to capture jazz musicians live during one day at the Newport Jazz Festival in 1958. An extraordinary record of great musicians at work in front of devotees having a great time. Restored and looking great.
Sex Kittens Go to College (TCM app) 1960. Not shown in the OAR. But Mamie is still Van Doren and she gets a chance to sing and grind playing an ex-burlesque queen with 13 Ph.D.s who is hired as a college professor. Tuesday Weld looks positively radiant; Bardot's sister plays a student studying the American male's love habits; Vampira shows up; Bonzo the chimp shows up; and so many more character actors making absolute fools of themselves that this winds up being harmless, stupid fun in spite of itself.

 

[Mike Frezon]

This afternoon's matinee:

My comments are HERE. I liked it...a lot.

 

[Adam Lenhardt]

Star Trek: The Motion Picture
Originally Released: 12/07/1979
Watched: 06/26/2020
1080P HD digital streaming on Hulu, upscaled to 4K via Roku Ultra

After finishing the second season of "Star Trek: Discovery" on CBS All Access, I was jonesing for some more Star Trek content to watch and realized that I'd never actually seen this movie the whole way through -- I think kept away by the lackluster reviews. It was an interesting experience.

When Jerry Goldsmith's Star Trek theme kicked in right out of the gate, it really threw me. While I know it was composed for this movie, it's so associated with TNG and the TNG characters in my mind that it seemed strange to hear it with the original series cast.

The movie itself was a mix of the surprisingly good and and ludicrously bad. The ludicrously bad mainly has to do with the execution: This is far and away the most dated Star Trek production I've ever seen. While the original series's sixties style works today as retro cool, seeing all of Starfleet walking around in leisure suits of exclusively hideous colors is really hard to take seriously. Kirk's admiral uniform in the early parts of the movie isn't bad, but the rest of the costumes are just awful. Don't even get me started on Dr. McCoy's civilian look when he first arrives back on the Enterprise. While the new bridge set holds up better to being seen on a 40-foot screen than the TV series's bridge set would have, the color design is again hideous.

The visual effects are a mix of really excellent work and really laughably bad work. The model work, with a couple exceptions, remains really effective. One of the things that Robert Wise brought to this movie is a tremendous sense of scope and scale. If I have a criticism of most Star Trek productions, it's that space travel is a little too casual and a little too cavalier. Watching this movie, you never forget the vastness of space or the extreme measures humanity must take to survive in it. The stem to stern refit explains why the interiors look completely different than on the TV show, but the real benefit is providing an excuse for Kirk to take a shuttle up to the Enterprise so that she can get a grand reintroduction. Even though the sequence drags on far too long, there's some very special about the movie taking the time to acknowledge how special this starship is.

From a production design standpoint, this movie reminded me a lot of the Paul McGann TV movie for Doctor Who, in that it feels like a transitional moment for the franchise, with one foot in what came before and the other foot laying the groundwork for what will come. Engineering, in particular, feels like the model for Engineering in all of the TNG-era shows. I was actually really impressed by the graphical displays on the various screens around the ship; despite being created with analog techniques, they feel far less dated than many of the graphical displays from science fiction movies in the eighties.

Plotwise, it's the kind of story that could have been told easily in a regular episode, albeit not executed at nearly as high a level. It resonates in an interesting way with the second season of "Discovery" and the first season of "PIcard", both of which center around the implications of burgeoning consciousness in artificial life.

From a character standpoint, I liked that Kirk spends quite a bit of the movie on the back foot. His tactics to return to the Enterprise aren't without controversy, and after a couple years serving Starfleet in a higher-level capacity, he's rusty in ways that cause him to make mistakes. It was an interesting choice to make for the heroic protagonist. Getting back to the Kirk we know and remember from the TV series takes most of the movie, and requires him to act against his first instinct at several key junctures. Spock also takes most of the movie to get back to the character we know and remember from the TV series, in a journey that would later be mirrored with Agent Cooper on the Showtime revival of "Twin Peaks". It feels a bit like chunks of his story were left on the cutting room floor. Presumably his endeavors to achieve Kolinahr are the reason he is so cold and unfeeling upon his return to the Enterprise, and presumably the neurological shock of trying to mind meld with V'ger is what reawakened his human side. But it's not really made clear in the movie. Stephen Collins, probably better remembered for playing minister Eric Camden on "7th Heaven" for 11 seasons and later for being a disgraced child molester, is effective as Will Decker -- the new guy you're not supposed to like because he's an obstacle to the gang getting back together like the old days. The rest of the main cast from the TV series is present but given relatively little to do.

I would love for Paramount to invest in creating a proper 4K version of Wise's Director's Edition with a similar approach to the one taken for the TNG remaster: keep the top-notch model work, but replace other, more dated analog effects with digital effects that more seamlessly align with what we'd see in future Trek productions.

* * *​

Star Trek
Originally Released: 05/08/2009
Watched: 06/26/2020
1080P Blu-ray disc, upscaled to 4K via Panasonic DP-UB820

I picked this as the second film in my double feature because I wanted to compare these two very different introductions of the original series characters to the silver screen.

Conceptually, this is a very unusual movie. It is both a reboot of the franchise and a sequel to the previous six television series and ten motion pictures. The inciting incident of the movie transports both the villain and Leonard Nimoy's Spock from the original continuity into this new continuity. It's fitting that Kirk's father is named George, because -- much like George Bailey never being born in It's a Wonderful Life -- the ripples from the premature death of George Kirk in 2233 AD grow into tsunamis that reshape the Star Trek universe in ways large and small. By the time the action picks up again 22 years later, this is very much an alternate universe from the main continuity.

What this means is that the new cast isn't playing the same characters as the original cast. They were born to the same parents, have the same DNA, and the same essential "nature". But the "nurture" is considerably different, because the galaxy over the previous few decades is different. And that is especially true of Kirk and Spock. Kirk was born minutes after the point of divergence between the two timelines. Pine's Kirk has all of the intellect and instinct of Shatner's Kirk, but lacked his role models and structured upbringing. A Kirk who was a juvenile delinquent has taken a very different path to the captain's chair. As a result of the attack on the Kelvin, he was born two months earlier than his counterpart in the original continuity. As a result of his actions during the crisis with Nero, he was made captain of the U.S.S. Enterprise seven years earlier than the original continuity. Spock experiences two back-to-back devastating blows fairly early on in the movie that did not occur to Spock in the original continuity.

At the same time, there has often been a sort of rubber band effect counteracting the butterfly effect in Star Trek. Time in Star Trek has a natural flow, and resists attempts to alter it. How else to explain how so many people in the mirror universe are the same, in roughly the same roles, despite a point of divergence centuries or even millennia earlier? Taken from that perspective, the series of coincidences that result in the same crew of the Enterprise being reassembled can be seen as time trying to repair itself, with a few helpful nudges from the Spock of the original continuity.

If you were to ask Star Trek fans after The Undiscovered Country how Spock's story would end, I doubt any of them would have predicted in an alternate dimension, after traveling back in time more than a century. But his send off here, Nimoy's last appearance as Spock aside from a brief cameo in Into Darkness, was far more satisfying than Kirk's last adventure in Generations. It was especially powerful watching this movie so soon after seeing the beginning of Spock's journey in the second season of "Discovery": There, he was still very much struggling to reconcile his Vulcan and human natures. Here, Spock has achieved that balance and his wry observations have evolved into a delightfully dry wit.

The visual design of this movie is as strong as the visual design of The Motion Picture was weak. It fully embraces the sixties style of the original series why bringing in some of that modern Apple design philosophy. And while it's only about ten minutes shorter than The Motion Picture, the pacing is so much faster. This movie rockets out of the gate and doesn't let up until the end credits.

 

[Mysto]

Ugetsu (Criterion BD) 1953. Last seen almost 5 decades ago. Mizoguchi's tale of 2 humble couples. The men, driven by ambition, are separated from their spouses and unexpected events, some phantasmagorical, ensue. The camera moves almost constantly, using crane shots, dollies, etc., and the music is appropriately atmospheric and eerie. The finale, although somewhat sad, is life affirming. This film is another masterpiece from the great Japanese master.
Born Reckless (TCM app) 1958. From Mizoguch to Mamie. Van Doren, that is. Entertaining rodeo picture with Mamie singing and showing her fully-covered assets at very good advantage. Opposite her is granite-chiseled and impossibly handsome Jeff Richards, who is initially oblivious to her obvious charms. Where was he looking? Mamie sings (reasonably well), grinds with the best of them, and acquits herself well. Can you ask for more?
Jazz on a Summer's Day (TCM app) A National Film Registry inductee documentary. Shot in vivid Eastmancolor using multiple cameras to capture jazz musicians live during one day at the Newport Jazz Festival in 1958. An extraordinary record of great musicians at work in front of devotees having a great time. Restored and looking great.
Sex Kittens Go to College (TCM app) 1960. Not shown in the OAR. But Mamie is still Van Doren and she gets a chance to sing and grind playing an ex-burlesque queen with 13 Ph.D.s who is hired as a college professor. Tuesday Weld looks positively radiant; Bardot's sister plays a student studying the American male's love habits; Vampira shows up; Bonzo the chimp shows up; and so many more character actors making absolute fools of themselves that this winds up being harmless, stupid fun in spite of itself.

Jose - I gotta throw in a like once and a while for you if only for the sheer diversity of your selections. Bravo.

Star Trek: The Motion Picture
Originally Released: 12/07/1979
Watched: 06/26/2020
1080P HD digital streaming on Hulu, upscaled to 4K via Roku Ultra

View attachment 74694

After finishing the second season of "Star Trek: Discovery" on CBS All Access, I was jonesing for some more Star Trek content to watch and realized that I'd never actually seen this movie the whole way through -- I think kept away by the lackluster reviews. It was an interesting experience.

When Jerry Goldsmith's Star Trek theme kicked in right out of the gate, it really threw me. While I know it was composed for this movie, it's so associated with TNG and the TNG characters in my mind that it seemed strange to hear it with the original series cast.

The movie itself was a mix of the surprisingly good and and ludicrously bad. The ludicrously bad mainly has to do with the execution: This is far and away the most dated Star Trek production I've ever seen. While the original series's sixties style works today as retro cool, seeing all of Starfleet walking around in leisure suits of exclusively hideous colors is really hard to take seriously. Kirk's admiral uniform in the early parts of the movie isn't bad, but the rest of the costumes are just awful. Don't even get me started on Dr. McCoy's civilian look when he first arrives back on the Enterprise. While the new bridge set holds up better to being seen on a 40-foot screen than the TV series's bridge set would have, the color design is again hideous.

The visual effects are a mix of really excellent work and really laughably bad work. The model work, with a couple exceptions, remains really effective. One of the things that Robert Wise brought to this movie is a tremendous sense of scope and scale. If I have a criticism of most Star Trek productions, it's that space travel is a little too casual and a little too cavalier. Watching this movie, you never forget the vastness of space or the extreme measures humanity must take to survive in it. The stem to stern refit explains why the interiors look completely different than on the TV show, but the real benefit is providing an excuse for Kirk to take a shuttle up to the Enterprise so that she can get a grand reintroduction. Even though the sequence drags on far too long, there's some very special about the movie taking the time to acknowledge how special this starship is.

From a production design standpoint, this movie reminded me a lot of the Paul McGann TV movie for Doctor Who, in that it feels like a transitional moment for the franchise, with one foot in what came before and the other foot laying the groundwork for what will come. Engineering, in particular, feels like the model for Engineering in all of the TNG-era shows. I was actually really impressed by the graphical displays on the various screens around the ship; despite being created with analog techniques, they feel far less dated than many of the graphical displays from science fiction movies in the eighties.

Plotwise, it's the kind of story that could have been told easily in a regular episode, albeit not executed at nearly as high a level. It resonates in an interesting way with the second season of "Discovery" and the first season of "PIcard", both of which center around the implications of burgeoning consciousness in artificial life.

From a character standpoint, I liked that Kirk spends quite a bit of the movie on the back foot. His tactics to return to the Enterprise aren't without controversy, and after a couple years serving Starfleet in a higher-level capacity, he's rusty in ways that cause him to make mistakes. It was an interesting choice to make for the heroic protagonist. Getting back to the Kirk we know and remember from the TV series takes most of the movie, and requires him to act against his first instinct at several key junctures. Spock also takes most of the movie to get back to the character we know and remember from the TV series, in a journey that would later be mirrored with Agent Cooper on the Showtime revival of "Twin Peaks". It feels a bit like chunks of his story were left on the cutting room floor. Presumably his endeavors to achieve Kolinahr are the reason he is so cold and unfeeling upon his return to the Enterprise, and presumably the neurological shock of trying to mind meld with V'ger is what reawakened his human side. But it's not really made clear in the movie. Stephen Collins, probably better remembered for playing minister Eric Camden on "7th Heaven" for 11 seasons and later for being a disgraced child molester, is effective as Will Decker -- the new guy you're not supposed to like because he's an obstacle to the gang getting back together like the old days. The rest of the main cast from the TV series is present but given relatively little to do.

I would love for Paramount to invest in creating a proper 4K version of Wise's Director's Edition with a similar approach to the one taken for the TNG remaster: keep the top-notch model work, but replace other, more dated analog effects with digital effects that more seamlessly align with what we'd see in future Trek productions.

* * *​

Star Trek
Originally Released: 05/08/2009
Watched: 06/26/2020
1080P Blu-ray disc, upscaled to 4K via Panasonic DP-UB820

View attachment 74698

I picked this as the second film in my double feature because I wanted to compare these two very different introductions of the original series characters to the silver screen.

Conceptually, this is a very unusual movie. It is both a reboot of the franchise and a sequel to the previous six television series and ten motion pictures. The inciting incident of the movie transports both the villain and Leonard Nimoy's Spock from the original continuity into this new continuity. It's fitting that Kirk's father is named George, because -- much like George Bailey never being born in It's a Wonderful Life -- the ripples from the premature death of George Kirk in 2233 AD grow into tsunamis that reshape the Star Trek universe in ways large and small. By the time the action picks up again 22 years later, this is very much an alternate universe from the main continuity.

What this means is that the new cast isn't playing the same characters as the original cast. They were born to the same parents, have the same DNA, and the same essential "nature". But the "nurture" is considerably different, because the galaxy over the previous few decades is different. And that is especially true of Kirk and Spock. Kirk was born minutes after the point of divergence between the two timelines. Pine's Kirk has all of the intellect and instinct of Shatner's Kirk, but lacked his role models and structured upbringing. A Kirk who was a juvenile delinquent has taken a very different path to the captain's chair. As a result of the attack on the Kelvin, he was born two months earlier than his counterpart in the original continuity. As a result of his actions during the crisis with Nero, he was made captain of the U.S.S. Enterprise seven years earlier than the original continuity. Spock experiences two back-to-back devastating blows fairly early on in the movie that did not occur to Spock in the original continuity.

At the same time, there has often been a sort of rubber band effect counteracting the butterfly effect in Star Trek. Time in Star Trek has a natural flow, and resists attempts to alter it. How else to explain how so many people in the mirror universe are the same, in roughly the same roles, despite a point of divergence centuries or even millennia earlier? Taken from that perspective, the series of coincidences that result in the same crew of the Enterprise being reassembled can be seen as time trying to repair itself, with a few helpful nudges from the Spock of the original continuity.

If you were to ask Star Trek fans after The Undiscovered Country how Spock's story would end, I doubt any of them would have predicted in an alternate dimension, after traveling back in time more than a century. But his send off here, Nimoy's last appearance as Spock aside from a brief cameo in Into Darkness, was far more satisfying than Kirk's last adventure in Generations. It was especially powerful watching this movie so soon after seeing the beginning of Spock's journey in the second season of "Discovery": There, he was still very much struggling to reconcile his Vulcan and human natures. Here, Spock has achieved that balance and his wry observations have evolved into a delightfully dry wit.

The visual design of this movie is as strong as the visual design of The Motion Picture was weak. It fully embraces the sixties style of the original series why bringing in some of that modern Apple design philosophy. And while it's only about ten minutes shorter than The Motion Picture, the pacing is so much faster. This movie rockets out of the gate and doesn't let up until the end credits.

In all fairness to Star Trek the motion picture - remember the context. Star Trek had been cancelled. It was over forever. And then... it was not. Could the movie had been better - yes but we were just so darn happy to have our old friends back on any screen. I can remember the cheers when the movie started.

Nice review for each - thanks.

 

[bujaki]

Adam Resurrected (Criterion Channel) 2008. I had never heard of this Paul Schrader film. Well, it's another one of his overlooked great works, this one starring a magnificent Jeff Goldblum as a camp survivor who lost his humanity and sanity by turning into the commandant's dog. Man turns into dog, dog into man. Man finds child who thinks is a dog in asylum and helps him turn back into child-man, thus achieving his own redemption by finding his own humanity and sanity. But he loses something on the way... What a fascinating story and film. Co-starring Willem Dafoe as the Nazi. Strong stuff, and yet, besides a march to the showers, no other killings are shown. But it is still horrible and moving. Highly recommended. Leaving 30 June.
Songs My Brothers Taught Me (Criterion Channel) 2015. A tender, unsparing film about life in a small town in a Lakota reservation. Family bonds and friendships are tested in realistic, non-sensational ways. Much is said in elliptical fashion. Beautiful cinematography linking the lives of the Native-American peoples to their surroundings. A very satisfying experience. Also leaving 30 June.
The Cowboy from Brooklyn (TCM app) 1938. Absolute fluff from WB starring Dick Powell trying to break into meatier roles, but not quite succeeding. At least he got perky Priscilla Lane instead of Ruby Keeler for his leading lady. Plus 300-words-a-second Pat O'Brien providing a lot of humor. A nice change of pace after all the seriousness of the first 2 films.

 

[bujaki]

Just finished watching:
The Winning of Barbara Worth (Criterion Channel) 1926. I last saw this very good film during a Henry King retrospective at MoMA two generations ago. It holds up. A story about the taming of the last frontier, bringing water to the desert, thus towns and farming; greed which brings disaster, so we have a spectacular flood as well, with the townies fleeing to safety in a mad rush excitingly filmed; and a romance between Ronald Colman and the beautiful Vilma Banky. Plus the very handsome Gary Cooper, loved by the camera, in a very important role, much more important than the one in Wings that everyone talks about. A very enjoyable film.

 

[Walter Kittel]

Watched S01E02 of Hinterland earlier today. The second episode held up well and continues the aesthetic and storytelling conventions of the premiere episode. Episode opens with the discovery of a murder in an isolated location and follows the case to its resolution. The second episode delves deep into the past to uncover the motives of the killer. The series is beginning to flesh out the lives of the investigation team and I expect further developments as the series progresses (in particular the lead detective.)

Some really nice cinematography in the second episode, and one of the themes that seems to be developing is the contrast between the quiet and beauty of nature as contrasted against the ugliness of the murders.

It is a dark somber series so I will be taking it in small doses, personally it doesn't lend itself to bingeing (at least for me.) Probably take a day off and then watch the next episode.

- Walter.