For renewing a magazine subscription, I got a free CD audiobook of The Hunt for Red October (unabridged, 13 discs). I don't like the narrator (J. Charles); does anyone want it? First come first serve, leave a comment.
Last week, in talking about something related, Chad and I wandered into a discussion of noir plots and why I tend not to like them, with the strong exception of L.A. Confidential. He eventually put his finger on it:
It's the noble but stupid gesture.
Or, less flippantly, it's because the noir protagonist is upright but the world is not; he stays apart from the corrupt world, but because he's an outside, he can't influence it. He does the right thing and it doesn't matter: the world is not a better place at the end of the story.
In fiction, that's just not to my taste.
Brief notes on application, with spoilers for L.A. Confidential, The Maltese Falcon, The Big Sleep, and The Fortunate Fall.
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Comments, corrections, recommendations for stuff more on the L.A. Confidential end of things?
And that's the end of Cowboy Bebop. We actually watched these last week, but I wanted to post the noir thoughts at the same time.
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Overall, it was almost like watching two different series: the random silly filler bits, and the angsty backstory-repercussions bit. I think I would have liked it better if there was more interplay between the two parts of the series.
But hey, good music and pretty space bits!