Anne and I saw the new documentary Final Account in a county where masks were required of all patrons regardless of inoculation levels, in an auditorium where the A/C was on the fritz. Posted signs and the clerk warned us, but we insisted on proceeding anyway despite any consequences ahead. The environment was livable at first, but our comfort levels fluctuated as time went on and the air quality went from breathable to stifling and back again. Eventually we convinced ourselves to overlook our nagging concerns, but at no point could we simply sit back and pretend everything was fine.
Previously on Midlife Crisis Crossover:
It’s that time again! Longtime MCC readers know this time of year is my annual Oscar Quest, during which I venture out to see all Academy Award nominees for Best Picture, regardless of whether I think I’ll like them or not, whether their politics and beliefs agree with mine or not, whether they’re good or bad for me, and whether or not my friends and family have ever heard of them. I’ve seen every Best Picture nominee from 1988 to the present, many of which were worth the hunt. The eight nominees for Best Picture of the Pandemic Year may pose more of a viewing challenge…
In my youth and young-adulthood, seeing any of the Oscar-nominated documentaries before the ceremonies was usually impossible. Or after the ceremonies, for that matter. Streaming media changed the game and broadened access and opportunities for ordinary viewers even before the pandemic turned the convenience into a lifesaver. I’ve yet to enjoy a year in which all the nominees for Best Documentary Short Film or Best Documentary Feature were universally clickable, but the percentages have been generously high. It’s been fun seeing how many I could chase down legally without overpaying for the privilege.
Previously on Midlife Crisis Crossover: our family doesn’t subscribe to HBO, but from time to time our cable provider will offer free preview weekends that let us watch all we can within 72 hours that are meant to entice us to add it to our already overstuffed lineup. Instead we save up our HBO watch-lists, pace back and forth waiting for those rare weekends, then see how much we can speed through whenever we’re granted the opportunity. It’s a bit like composing lunches entirely from free samples handed out at the grocery, but in the proper frame of mind, satisfaction can be found in limited quantities.
At least, all that had been our usual approach. Among the more recent developments in the interim normal is both Hulu and our cable provider are now offering access to the HBO libraries for a nonspecific “limited time”, presumably with an end date their corporate overlords can shift back and forth as the winds change. Until then, we plan to see what we can work in while we’re busy catching up on other watch-list materials.
Naturally for us, priority #1 was a recent show that brought back memories of our old jobs.
Previously on Midlife Crisis Crossover: the recurring feature that’s more like a newsletter in which I’ve jotted down capsule-sized notes about Stuff I Recently Watched at home. Picking up where the preceding installment left off, in which we covered this year’s Academy Award nominees for Best Documentary Feature but took an intermission before proceeding with these, the currently accessible Best Documentary Short Film nominees:
Previously on Midlife Crisis Crossover: the recurring feature that’s more like a newsletter in which I’ve jotted down capsule-sized notes about Stuff I Recently Watched at home. In this batch: the past month’s worth of comfy-chair viewing as prep for next Sunday’s Academy Awards ceremony. Every year I chase down all the Best Picture nominees whether I want to see them or not, and nearly always catch them all before the big day. (Sole exception in the past twenty years: when Ray was nominated, it was 100% rented out for weeks from every Blockbuster near our old apartment. Yes, it’s been a while.) But in recent times, I’ve also been exploring the fun to be had in chasing down other Oscar nominees for extra credit.
For the second year in a row I decided to see how many nominees I could watch from the Best Documentary Feature and Best Documentary Short Film categories, either free via legal means or via my existing streaming-service subscriptions. Last year I managed to catch nine of the ten nominees on time. The standoffish exception, National Geographic’s vertiginous climb-along Free Solo, aired the following Sunday night once they’d secured their statuette. This year I’ve managed to see eight available out of ten. Of the two holdouts, MTV has their very first nominee St. Louis Superman on lockdown for the time being, with some alleged special presentation in the works TBD; the other, The Cave, is another National Geographic entrant obligated to follow their stingy playbook.
My sincerest gratitude goes out to the rights-holders of the other eight, who actually want their works seen in this critical moment when people are most curious about them. First up are the four viewable nominees for Best Documentary Feature:
Previously on Midlife Crisis Crossover: the recurring feature that’s more like a newsletter in which I’ve jotted down capsule-sized notes about Stuff I Recently Watched at home. I could string together several entries out of the backlog I built up through 2018, but for now let’s settle for tackling a few recent catches from the past six weeks, when the Academy Awards were fresh in mind, whether relevant or tangential:
Previously on Midlife Crisis Crossover: the recurring feature that’s more like a newsletter in which I’ve jotted down capsule-sized notes about Stuff I Recently Watched at home. In this batch as well as the previous one: the past few months’ worth of comfy-chair viewing as prep for this Sunday’s Academy Awards ceremony, except this year I went overboard and decided to see how many the nominees I could catch from other categories, either free via legal means or via existing streaming-service subscriptions. As it turns out, quite a few, mostly documentaries but that’s not a bad thing.
But first, an Original Screenplay nominee I’d been curious to see for a while:
Among the many deficiencies in my childhood, I regret Mister Rogers’ Neighborhood was not required viewing in our house. In the days before VCRs, DVR, and the Internet, our family’s TV schedule was strictly divided between myself, my mom, and my grandma. I was allowed to pick stations each weekday morning before 9 a.m., after school, and on Saturday mornings. Sadly, the kindly Fred Rogers had the misfortune of airing opposite Grandma’s soap operas and/or game shows. By the time I discovered him while channel-flipping, I was somewhere in my preteen phase — too old to respond to his low-key gentility, not quite old enough to watch him ironically, and nowhere near the kind of adult who could appreciate what he did or how he connected to millions of other, better-off kids.
My wife Anne, on the other hand, used to watch him all the time. As a youngling she watched him, Sesame Street, and other PBS all-stars all the time. He spoke directly to kids, the Viewers at Home. He wasn’t there to bedazzle them with whimsy or lull them with escapist conflicts or sell them toys. He taught, he explained, he knew, he felt, he sympathized, he loved. For some kids he seemed like the only adult who every really got them, who even tried to get them. He fell just short of absolute godhood, but to many, calling him “father figure” doesn’t begin to describe his impact on their lives.
Won’t You Be My Neighbor?, then, is a rare instance of Anne taking me with her to the movies for once.
Hi, My name is Randy. It’s been five years and two months since the last time I pledged money to a Kickstarter campaign. This week I achieved closure on that chapter in my hobbyist life at last.
Previously on Midlife Crisis Crossover: the recurring feature that’s more like a newsletter in which I’ve jotted down capsule-sized notes about Stuff I Recently Watched at home. In this batch: we prepare for Sunday night’s Academy Awards ceremony starring ABC’s Best Pal Jimmy Kimmel, the perfect representative for the Year of #MeToo on Bizarro World, with brief notes on our final Best Picture nominee (and one of the best), along with all the nominees I could catch in other categories before I ran out of time.