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After getting assigned to his own lab, Justin starts to work on a classified project. And with his family back, things back to normal. However certain truths are about to come to light that may change his life forever.
It's not among the greatest performances ever committed to the screen, but it is nonetheless a memorable one. This is because Laura Lou is played convincingly by an eleven-year-old boy, Jonathan Caouette, who also wrote the scene and filmed it on his Super 8 camera, without any apparent adult supervision or assistance.
At 13, Jonathan began sneaking into gay night clubs by posing as a \"petite Goth girl.\" Through friends he met there he discovered underground film, and soon he was making his own B-style horror shorts with titles such as The Ankle Slasher and The Goddamn Whore. (This latter starred his grandmother; a brief clip shows her hilariously, if inappropriately, shouting obscenities into the phone.) In his twenties, Jonathan moved to New York, where he found work as an actor and happiness in a long-term relationship. Back in Texas, however, his family continued to degenerate, culminating with a severe lithium overdose by his mother, an episode which serves to both open and close the film.
Simply put, Caouette's reliability as a narrator is difficult if not impossible to gauge. There are peculiar omissions from his youth. He doesn't say, for example, when his family learned he was gay or how they responded--let alone what it was like to be a gay teen openly dating in 1980s Texas. Though a younger half-brother makes a brief appearance in the film, Caouette never explains his provenance: Did Renee remarry What happened to the father Worse, Caouette neglects altogether to mention the son he fathered at age 21, or the boy's mother, a woman with whom Caouette had a sexual relationship for years.
These scenes are all crucial to the story Caouette wants to tell, about how he escaped family disarray and dysfunction in Texas for happiness and redemption in New York and how, in the end, he was able to save his mother too. This story may be genuine--I certainly hope it is--but it's impossible to tell, because so much of the footage Caouette uses to convey it appears manufactured.
A final concern: Of the main characters in Tarnation apart from Caouette, one is dead (his grandmother Rosemary), one is senile (his grandfather Adolph), and one is delusional (Renee). It's hard to imagine that any of the three could have given any meaningful consent to their portrayals in the film, which are frequently pitiable. (By contrast, boyfriend David is never shown in any but the most flattering light.) There is footage of poor, wizened Adolph sitting in a house that has been literally torn apart by Renee, alternating between oblivious good cheer (\"We've got a happy family ... a wonderful family\") and impotent rage (he tries to call the police to get Caouette to stop filming him). There's an extended clip of brain-damaged Renee singing and giggling like a child, enraptured by a small pumpkin. And worst, there's a scene of Rosemary severely impaired after a major stroke. Someone has put a dark wig on her head and Caouette encourages her to perform for the camera: \"Do your Betty Davis imitation, Grandma.\" \"I don't feel like it,\" she replies weakly.
It's one of several occasions in the film when Caouette's family members ask him to please put down the camera. Perhaps the most poignant takes place during Renee's first visit to New York, before the lithium overdose. The onscreen narration has informed us that on this trip she and her son \"connected like never before.\" In his apartment, Caouette tries to interview her about her experiences in the psychiatric hospitals, but she retreats into another room. \"You know, I'd like to find out some things about myself, too,\" Caouette complains. \"We can talk, Jon,\" she replies. \"We don't need it on film.\" Obviously, he disagreed.
NOAH: I have a very good brain. And I know this because every time I ask people if I have a good brain, they say, of course, Mr. President. Now please, let my family go. You've already killed my sister. I think you've proved your point.
But she never came at it from a place of anger. If anything, she defied it. And she didn't give it the credibility that it was trying to create in the world. And so that's something that I inherited from my mom, is that in my family, we just - we're not quick to anger. If anything, you know - I mean, obviously, there are moments where you find things ridiculous or ludicrous - but not quick to anger, rather find a way to laugh about it or to minimize it using humor.
NOAH: Well, I lived with my mom. So the way it works in South Africa is you were allowed to downgrade. So, you know, you could go - you could almost forfeit your rights and then go live in an area that was deemed inferior to the one that you were allowed to live in. So I was living with my mother in Soweto and my grandmother and the rest of our family. And then, my father lived - he lived in the city center. And so I guess - there were times when my mom would sneak us in to go meet and hang out as a family when we could. But for the most part, that's where I spent most of my time.
Very funny when you think about it, because everyone, you know, everyone thinks of, like, a maid outfit as like a very sexual or interesting costume. And yet my mom - she was like, this is a functional thing I need to get my family together. So that - she was going through all of that. My dad didn't have to do much because he was on the, I guess, the right side of the law, as they would say. So yeah. So my mom was doing all the heavy lifting for all of us.
NOAH: Yeah, well, my mom didn't leave to go to another man. So my mom completely left the home, moved out with my brothers. I was really out of the home at that time. And she went and set up a new life. And then at that point, one day, they came home from church. And then he pitched up, and he was drunk. And then he threatened to kill the whole family, including himself. And then he shot my mom twice.
So, you know, we laughed about it. We joked. I mean, that's really the hallmark of my family is - I mean, a few days afterwards in the hospital, my mom was the person who cracked the first joke. You know, I was crying by her bedside. And she said to me - she said, don't cry. Look on the bright side. She said, now you're officially the best-looking person in the family. So (laughter) you know, so we've, you know, we've overcome a lot because of laughter, I think, and that's why I love comedy so much. It's because it's the thing that has kept my family going through every single type of adversity.
NOAH: Well, it was just how my parents treated me. It was the world they decided to show me. I was really sheltered. My grandmother kept me locked in the house when I was staying, you know, with the family in Soweto. And every household, for instance, had to have a registry of everyone who lived in that house.
The police didn't afford you a phone call. You just disappeared for a while. And what was scary was we lived in a state where some people disappeared forever. You know, if the police believed that they were planning any form of resistance against the state, then you were just gone. Nobody knew where you were. And you just hoped to see that family member again.
GROSS: ...Because there were no taxis in the townships. So you're in a minibus. And the driver, realizing that you are your mother's son, you know, figures out that she must've had relations with a white man. And he starts calling her a whore.
NOAH: Well, the one thing I was lucky - I feel I was lucky about is when this happened, I was in high school. And during the period I was in high school, race almost went out of the window because high school was oftentimes almost like a classist society. But the classism isn't about money, it's about coolness. What is your cool factor How much cool do you possess And that determines where you go. Are you good at sports Then you get to go into the coolest places. Are you super good-looking Then you get to be in the cool club, and so on and so forth.
So I go, OK, I look back, and I say, my self-esteem was affected because of my skin and because my family had no money and I was ashamed of how poor I was. And I look at all of that, and I was trying to hide myself. And so I felt like I was less than I was. And so that then leads to you being depressed. And I work on these things, you know.
In a complete departure from the previous book, Gods of New Orleans is a dieselpunk science fiction adventure. Emma Farnsworth, her saxophone-playing boyfriend Eddie Collins, and the Conroy family have escaped from Chicago City and are going to start life again in New Orleans. However, everything they think they know about New Orleans is turned on its ear.
Schnauzer rescuer Brandy Alexander is tired of living with her parents, not sure what's going on in her relationship with her boyfriend, Dante, and is looking for a little fun. She gets way more than she bargained for when she kisses a handsome stranger during a Mardi Gras parade ... as he's shot in front of her and pretty soon it seems like the New Orleans gangsters are after her, too. This is a super-cute cozy mystery featuring dogs, intrigue, fun characters, and the Big Easy. What more could you ask for 153554b96e
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