Teleidoplex

I screamed in dismay in the middle of the night because I had just seen the news that Kenneth Colley died.

I saw him in roles beyond the megafamous one, of course, and he was everything from inevitable to excellent in them, but it happens that last week spatch and I took the excuse of a genuinely fun fact to rewatch Return of the Jedi (1983) and at home on my own couch I cheered his typically controlled and almost imperceptibly nervy appearance aboard the Executor, which by the actor's own account was exactly how he had gotten this assignment stationed off the sanctuary moon of Endor in the first place, the only Imperial officer to reprise his role by popular demand. In hindsight of more ground-level explorations of the Empire like Rogue One (2016) and Andor (2022–25), Admiral Piett looks like the parent and original of their careerists and idealists, all too human in their sunk cost loyalties to a regime to which they are interchangeably disposable, but just the slight shock-stillness of his face as he swallows his promotion from frying pan to fire would have kept an audience rooting for him against their own moral alignment so long as they had ever once held a job. It didn't hurt that he never looked like he'd gotten a good night's sleep in his life, not even when he was younger and turning up as randomly as an ill-fated Teddy-boy trickster on The Avengers (1961–69) or one of the lights of the impeccably awful am-dram Hammer send-up that is the best scene in The Blood Beast Terror (1968). Years before I saw the film it came from, a still of him and his haunted face in I Hired a Contract Killer (1990)—smoking in bed, stretched out all in black on the white sheets like a catafalque—crossbred with a nightmare of mine into a poem. Out of sincere curiosity, I'll take a time machine ticket for his 1979 Benedick for the RSC.

He played Hitler for Ken Russell and Jesus for the Pythons: I am not in danger of having nothing to watch for his memory, as ever it's just the memory that's the kicker. No actor or artist or writer of importance to me has yet turned out to be immortal, but I resent the interference of COVID-19 in this one. In the haphazard way that I collected character actors, he would have been one of the earlier, almost certainly tapping in his glass-darkly fashion into my longstanding soft spot for harried functionaries of all flavors even when actual bureaucracy has done its best for most of my life to kill me. I am glad he was still in the world the last time I saw him. A friend no longer on LJ/DW already wrote him the best eulogy.

On the normality front, our street is full of cracks and bangs and whooshes from fireworks set off around the neighborhood, none so far combustibly. Otherwise I spent this Fourth of July with my husbands and my parents and eleven leaves of milkweed on which the monarch seen fluttering around the yard this afternoon had left her progeny. My hair still smells like grill smoke. Due to the size of one of the hamburgers, I folded it over into a double-decker with cheese and avocado and chipotle mayo and regret nothing about the hipster Dagwood sandwich. A quantity of peach pie and strawberries and cream were highlights of the dessert after a walk into the Great Meadows where the black water had risen under the boardwalk and the water lilies were growing in profusion from the last, droughtier time we had passed that way. I do not know the species of bird that has built a nest in the rhododendron beside the summer kitchen, but the three eggs in it are dye-blue.

On the non-normality front, I meant it about the spite: watching my country stripped for parts for the cruelty of it, half remixed atrocities, half sprint into dystopia, however complicated the American definition has always been, right now it still means my family of queers and rootless cosmopolitans and as most of the holidays we observe assert, we are still here. It's peculiar. I was not raised to think of my nationality as an important part of myself so much as an accident of history, much like the chain of immigrations and migrations that led to my birth in Boston. I was raised to carry home with me, not locate it in geography. I've been asked my whole life where I really come from. This administration in both its nameless rounds has managed to make me territorial about my country beyond the mechanisms of its democracy whose guardrails turned out to be such movable goalposts. It enrages me to be expected not to care that I have seen the pendulum swing like a wrecking ball in my lifetime, as if the trajectory were so inevitable that it absolves the avarice to do harm or the cowardice to prevent it. It is nothing to do with statues. The door to the stranger is supposed to be open.

The wet meadows of the Great Meadows are peatlands. They were cut for fuel in the nineteenth century, the surrealism of fossil fuels: twelve thousand years after the glaciers, ashes in a night. The color of their smoke filled the air sixteen years ago when some of the dryer acres burned. If you ask me, there's room for bog bodies.

I was so transfixed by the Bittersweets' "Hurtin' Kind" (1967) that I sat in the car in front of my house listening until it was done. The 1965 original is solid, stoner-flavored garage rock with its keyboard stomp and harmonica wail, but the all-female cover has that guitar line like a Shepard tone, the ghostly descant in the vocals, the singer's voice falling off at the end of every verse: it sounds like an out-of-body experience of heartbreak. The outro comes on like a prelude to Patti Smith.

If I had a nickel for every time I heard two songs about mental unwellness within the same couple of hours, actually I'd be swimming in nickels, but I appreciated the contrast of the slow-rolling dread-flashover of Doechii's "Anxiety" (2025) with Marmozets' "Major System Error" (2017) just crashing in at gale force panic attack. Hat-tip to rushthatspeaks for the former. I must say that I am missing my extinct music blogs much less now that I spend so much time in the car with college radio on.

"Who'll Stand with Us?" (2025) is the most Billy Bragg-like song I have heard from the Dropkick Murphys and a little horrifically timely.

Non-musically, I think I might explode. The curse tablets are not cutting it.