“…or Best Offer.”

What a blast to finally bring Charlie Shackleton, if that makes sense to screen THE AFTERLIGHT here yesterday. Sally’s, Rudy’s, a derelict heap of dented Goldbergs in the creepy basement of our old building—we hit every NHV must-see spot. So glad we could help out when the print needed new transport, too.

Show up to intro the screening five minutes before showtime to find your handouts and notes are locked in a closet, while you smile and usher in your 91-year-old filmmaker and the head librarian and major donors? It’s gonna be a great night!

Tu n’avais qu’un seul travail

Siri, I can do without all of the random commas you now insert into my dictated text. Who thought, this, was a good idea?

It was an absolute privilege and joy to welcome Michael Roemer and Brooke Adams for a conversation with Bilge Ebiri in our cinema between 35mm screenings of VENGEANCE IS MINE and THE PLOT AGAINST HARRY. “What inspired this film, Michael?” “Despair.”

Pavement across the decades: luckier than I could have known to see them in the Campus Center Frontroom at Amherst (capacity 150?) in 1994; unexpected reunion at the Hollywood Bowl (18,000) 2010; and tonight, a treat at the Kings in Brooklyn (3,000). Elegant bachelors, indeed.

Seeing New Order and Pet Shop Boys (from some nosebleed seats at MSG as usual) really brought me back to 1988 and joins Depeche Mode (2017) and Pixies (2004) as one of the great “better late than never” shows I never thought I’d see. Stephen Morris, Neil Tennant, ageless.

So sorry you had to spend a few days at FedEx Overgoods in Newark, that can’t have been fun. Hopefully you made some friends in the “Arts / Hobbies & Crafts” field like yourself.

Found out I can ask the HomePod to play the Yankees-Sox radio broadcast and now I’m stuck with the mental image of the joint specialist sponsor who “eats, sleeps, and breathes joints.” Who thought that was a good tagline?

This is just baffling to me: a real, legitimate studio movie from a successful director who’s made a bunch of great movies, with a deep and rich cast, adapting a beloved character, and…it’s playing once a day in the week of its release at random theaters nowhere near New Haven?

For today's The New York Times I wrote a love letter to celluloid, its surprising renaissance in NYC's cinemas, and the handful of projectionists keeping it alive. nytimes.com/2022/09/23/nyr…

The hyper-protective cabal that controls the work of Hergé changes its name from the obscure, arguably cool reference that is Moulinsart to something that sounds more like a robot toy or some short-lived educational software from the 90s. tintin.com/en/news/5859/m…