bones and all (film). i have loved mark rylance's weird magic ever since i saw his shakespeare-on-broadway double-header (twelfth night's viola one night, richard iii's richard the next!) almost a decade ago, so i would have itched to see this knowing only that he was part of it; i also love joy division's "atmosphere," which promos and the film itself use beautifully and, c'mon, timmy chardonnay as a star-crossed cannibal in a luca guadagnino movie? so much to delight. the cinematography is gorgeous, and i loved the little nods to fraught road movies like badlands (which wowed us at a lovely theater in philly when we spent a weekend there for a friend's wedding this fall). as in call me by your name, guadagnino's last set-in-the-'80s doomed love story starring timothée chalamet, the needle drops are fantastic throughout (along with joy division, there's new order, george strait, a-ha's "the sun always shines on tv," a track that should propel every movie henceforth and be recut into all archives*). i'm now reading the camille deangelis YA novel adapted for the movie, which the author herself has said is not her favorite work? digging into how the story changed is entertaining, even though i'm dreadful at fiction and would never write or adapt it myself.

guillermo del toro: crafting pinocchio (exhibit). it would never have occurred to me to see if moma was open on new year's day; why on earth would moma be open on new year's day? hats off to my sister for asking the tough questions so that she could introduce her sons to jackson pollack** and friends; we had two o'clock tickets for the museum on the first and it was delightful. it also would not have occurred to me to go up there for a guillermo del toro show, for while seeing his stuff up close is delightful (i quite enjoyed at home with monsters at lacma back in 2016, also with jo and my older nephew when he was puppet-sized), i sort of figured another exhibit would be more of the same - and i didn't love nightmare alley, his last project i'd seen. but! this joint was organized during film production, and it did a bang-up job of highlighting all the painstaking work that goes into stop-motion animation and del toro's characteristic world-building. jo's sons are six and four, and i think a lot of the show went over their heads, but i think it would blow a crafty tween's mind; if i'd seen that stuff when i was a sprout i'd be a tattoo artist or/and a necromancer today. i also loved the big wall of photos and titles at the end of the exhibition highlighting all of the artisans and technicians that worked on the movie; the whole presentation deconstructs and celebrates passion projects in a way that makes visitors want to make complicated stuff and support other makers. bonus points for making pinocchio about fascist italy! it's time to bring (talking about the horrors of) fascism back.

splat midnight jade (hair dye). my hair has been various shades of platinum-to-plantain blonde and medium-to-light blue for the last few years; since it never gets more than an inch or two long, i bleach and dye all of it without messing around with sectioning and root touchups. i'm pretty good at it! this stuff was supposed to turn my hair an unprecedented dark green, which felt like a festive angle from which to approach the winter. in practice it's vivid cobalt that sizzles into darkness at at the edges, and it runs down my temples and cheekbones when it gets wet two full weeks after application and several enthusiastic shampoos, so when i get caught in the rain i'm a cross between a blue morpho and rudy giuliani (but the good news is that i have some information that will blow the 2020 election wide open). this dye is not the right dye for me! tantalizing teal (and its soul-frying powder bleach) remains the chemical headsuit to beat.

*i really, really love a-ha. it still saddens me that that my trombone champ "take on me" endorsement didn't make it into that new york times newsletter i was talking about two weeks ago, but they did this, and: heh.

**her sons were unimpressed with jackson pollack. they couldn't get enough of yoko ono's film no. 4, though.

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