What have I been researching?
I was privileged enough to spend the month of October as the Loewenstein-Wiener fellow at the Jacob Rader Marcus Center of the American Jewish Archives. My goal was to uncover as much as I could about the political activities of American Jews in the age of Jackson. Scholars have long noted that American Jewish men supported the Jeffersonians and the Jacksonians, also noting that the majority of the first Jewish politicians ran as Democrats or were appointed by them. Yet few historians have really grappled with the question of ‘why?’ This is question is but one of the many my dissertation aims to address.
My time their was incredibly productive, not just for the archives themselves, but for the fellowship. I got to work one-on-one with Gary Zola, author of Isaac Harby of Charleston, 1788-1828 and We Called Him Rabbi Abraham: Lincoln and American Jewry. Not only that but I formed a friendship with Yonatan Eyal, author of the outstanding and underrated The Young America Movement and the Transformation of the Democratic Party, 1828–1861.
What have I been writing?
What have I been reading?
BOOKS
Liberty Is Sweet: The Hidden History of the American Revolution by Woody Holton.
American Freethinker: Elihu Palmer and the Struggle for Religious Freedom in the New Nation by Kirsten Fischer.
In Trump's Shadow: The Battle for 2024 and the Future of the GOP by David M. Drucker.
Woke Racism: How a New Religion Has Betrayed Black America by John McWhorter.
ARTICLES
Preppy Style Is Back and More Accessible Than Ever. Here’s Why Its Return Feels Right on Time by Kareem Rashed (Robb Report).
The Democrats’ Privileged College-Kid Problem by Ian Ward (Politico).
The Problem with the “Red Dog Democrat” Thing by Charlie Sykes (The Bulwark).
Everywhere Is Appalachia by Jonathan V. Last (The Bulwark).
Any Criterion and Blu-Ray Pickups?
Probably my most exciting pickup was from Scream Factory.
Amazon had a really nice coupon sale over one weekend, so I took advantage.
Pickup on South Street (1953; #224) [blind buy]
The Philadelphia Story (1940; #901) [blind buy]
Matewan (1987; #999) [blind buy]
The Awful Truth (1937; #917) [blind buy]
Some Like It Hot (1959; #950) [blind buy]
But I forgot about the biannual Criterion 50% Flash Sale (luckily I had just written an op-ed, so I could ‘justify picking up some things… a lot of things…).
His Girl Friday (1940; #849) [blind buy]
The Game (1997; #627) [seen]
Five Easy Pieces (1970; #546) [blind buy]
Broadcast News (1987; #552) [blind buy]
Fail Safe (1964; #1011) [seen]
The New World (2005; #826) [blind buy]
12 Angry Men (1957; #591) [blind buy]
Blood Simple (1984; #834) [seen]
Following (1999; #638) [seen]
The Brood (1979; #777) [blind buy]
Salò, or The 120 Days of Sodom (1976; #17) [blind buy]
Videodrome (1983; #248) [seen]
What have I been watching?
Working Girls (1986; Criterion Channel): Working Girls certainly puts the 'work' into 'sex work.' Because of its style and pacing, it is comparable to other films that shine a light on the monotony and mundaneness of certain kinds of jobs. At times it's funny and other times relatable, despite the very different kind of employment these women are in. It almost feels like a documentary as we are given windows into the lives of these women and the various men who pay for their services. The biggest problem with the film is some of the wooden acting on display from amateur actors. The film is pretty grim viewing but refreshing in its frank approach to its subject matter.
To Die For (1995; Criterion Channel): A slick black comedy that examines the deadly obsession with celebrity in American life. Nicole Kidman steals every scene but is backed up by an all-star cast, all of whom deliver great performances. Despite being rather obvious in its storytelling, To Die For is smart, sexy, funny, and satirical. Very entertaining.
Titane (2021): I do not think I have squirmed more in my seat at a movie theatre. Uncomfortable but completely engrossing. It is both hard to explain this movie and how I felt about it. It’s a strange film, that I did enjoy (but will probably never want to watch again).
No Time To Die (2021): Satisfied, is the best way to describe how I feel about Daniel Craig’s final appearance as Bond. It’s certainly got its problems (mostly due to leaning into Spectre’s storyline) but overall, it’s an entertaining, worthy, and surprisingly emotional note for Craig to leave on.
Halloween Kills (2021): Halloween Kills is easily the most brutal and graphically violent film in the franchise to date. The Shape's body count outdoes anything we have seen before. Sadly, as visceral and confrontational as the violence might be, the odd usage of CGI blood does take away from the film. Halloween Kills suffers the most in its lagging middle section, ham-fisted dialogue, and being the first part of a two-part conclusion. Halloween Kills is a confusing, bloody, and messy film, which makes it enjoyable but not exactly satisfying.
The Last Duel (2021): Utterly compelling from start to finish, The Last Duel proves that no one does period epics like Ridley Scott. Told from three perspectives, The Last Duel's he said, he said, and she said narrative is as clever as it is poignant. Not only does it allow for nuance, miscommunication, misunderstanding, and flat-out errors in the storytelling, it also allows Damon, Driver, Comer, and Affleck to deliver strikingly different performances. The Last Duel is the first truly 'bold' film I have seen in a long time.
Dune (2021): I liked Dune a lot. It’s visually stunning, the costumes are superb, the cast is all-star, and it’s undoubtedly epic. But it’s an emotionally flat film, with odd pacing, and uneven. It is also making big bets about the sequel, so I hope they pay off. Fingers crossed Dune becomes the sci-fi Lawrence of Arabia we want it to be.
Last Night in Soho (2021): This is a strange movie. It’s a stunning homage to 60’s horror and a love letter to the era’s style, but weighted down by a confusing plot, an overbearing message, and a genuine lack of scares. It was a fun, but predictable ride.
The French Dispatch (2021): The French Dispatch is clearly a work of love. Not just to The New Yorker but to storytelling more generally. Also, all academics need to bask in the comedic gold that is "Revisions to a Manifesto – by Lucinda Krementz." The lampooning of student activism, youthful manifestos, and revolutionary rhetoric from elite university youths is hilarious. In short? If you like Anderson's aesthetic it will undoubtedly delight you.
What have I been thinking about?
Should I get this sports coat?