Watched and Read - November 9, 2025

 

Here’s what I watched and read last week:

MOVIES

Springsteen: Deliver Me from Nowhere (2025) centers on Bruce Springsteen as he writes the songs that would eventually become the albums Nebraska and Born in the U.S.A. Even if you’re not a Springsteen fan, this is a must-see for musicians. Scott Cooper creates a moody atmosphere that mirrors the dissonant, echoing sound Springsteen captured on the cassette recordings of his songs. I also loved the detail that the cassette had no case—it perfectly reflects the raw realism Springsteen was striving for in these sessions. Jeremy Allen White and Jeremy Strong both deserve award nominations for their performances. An excellent film.

Frankenstein (2025) is an outstanding film by Guillermo del Toro. I’d rank it right alongside The Devil’s Backbone and Pan’s Labyrinth. The film has a richly Gothic atmosphere and beautifully written dialogue. Every performance is excellent—especially Jacob Elordi, who delivers a haunting portrayal of the “monster.”

 

 

Stiller & Meara: Nothing Is Lost (2025) is an intimate documentary about Ben Stiller’s parents. I didn’t realize they were such a prominent comedy duo during the early days of television. I also enjoyed learning about Ben Stiller’s childhood with famous parents, though it was sad hearing him talk about his own marital struggles, some of which mirrored those of his parents.

Who Killed the Montreal Expos (2025) brought back a lot of memories for me. I was living in Burlington, Vermont, and could watch the Expos on TV before they moved to D.C. to become the Nationals. I remember how sad it was to see such low attendance at the stadium, unless the Red Sox were playing. I think the documentary would have benefited from telling the story chronologically rather than jumping around, but overall, I really enjoyed it.

Superman (2025) features some great secondary characters, especially Mister Terrific, Green Lantern, and Krypto the dog. James Gunn’s strength has always been portraying misfits, as seen in Guardians of the Galaxy and The Suicide Squad, which is why I found his take on Superman less engaging. He also relied on Krypto a bit too often to get Superman out of tough situations. However, I thought Techmacher’s secret relationship with Jimmy Olsen was hilarious.

Black Angel (1946). The Criterion Channel is curating a series of noir films centered on the theme of “blackout.” This one has a strong setup and a great twist at the end. I always love seeing Peter Lorre. The story is adapted from a novel by Cornell Woolrich, who also wrote the short story “It Had to Be Murder,” which Rear Window was based on.

Framed (1947). This film is another entry in Criterion’s “blackout” noir series. Mike Lambert (Glenn Ford) is a drifter and heavy drinker who winds up in a small town looking for work, only to get caught up in femme fatale Paula Craig’s (Janis Carter) scheme involving a banker who has embezzled two hundred and fifty thousand dollars. I always enjoy watching Ford. Framed doesn’t quite measure up to Gilda, The Big Heat, or Human Desire, which starred Ford, but it’s still worth checking out.

Blackout (1954) is another entry in Criterion’s “blackout” noir series. I didn’t really connect with this one, but it was interesting to learn that it was made by Hammer Productions, best known for its classic horror films.

Deadline at Dawn (1946) is the fourth film I’ve watched from Criterion’s “blackout” noir series. It’s not a bad movie and has a solid twist at the end. The dialogue, written by Clifford Odets, is sharp, and I liked that the story unfolds entirely over the course of one night.

 

 

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TV

Death by Lighting (2025). I’m really enjoying this series. Michael Shannon is great, but I am still adjusting to Matthew Macfayden as Charles Guiteau who plays the role with intense mania. I hate to admit this, but I know little about James Garfield, only that he was assassinated shortly into his presidency. So, I’m finding this series fascinating, and its making me want to learn more about him, which I think is a mark of a good historical drama.

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BOOKS

Tales from the Crypt Vol. 2: Another great volume of EC horror comics from the 1950s. It was a lot of fun to read during the Halloween season.

I am currently reading Joe Hill’s King Sorrow, which I am thoroughly enjoying. It’s a long book, and I probably won’t finish it until December, but it’s very engaging.

 

The Pointillism of Walter White and Frankenstein

Spoiler warning!

I realized I had written this short piece, but never posted it back in 2013! It was strange to read what I had written, now knowing how Breaking Bad ended. But here is what I wrote while watching the last season of the show. Of course, I had to update a few things...

The final season of Breaking Bad is getting closer to its finale. Two more episodes until we learn why Walt purchased guns at Denny's, his intentions with the ricin, and what became of his abandoned house.  

 

As we approach the series' finale, Vince Gilligan and his writers continue to spawn twists and unexpected events that keep us on the edge of our seats. Gilligan has called Breaking Bad a hyper-serialized show which is evident in the precision and ordering of narrative information. This is most notable in Breaking Bad's use of restricted and unrestricted information for both viewers and characters alike. White's concealment of secrets primarily drives the show's tension. Of course, Hank's discovery of "W.W." at the end of season 5.A was one of the show's biggest twists.

What is also interesting to note about Gilligan's use of restricted information is how strongly it engages us with the narrative. I particularly found the precise unfolding of the show's narrative information oddly similar to the art form of pointillism: dots applied on the canvas to form an image. Pontillism was created by Georges Seurat, most notable in his famous painting A Sunday Afternoon on the Island of La Grande Jatte.

Indeed, as we approach closer to Breaking Bad's finale, the parceling of narrative information (all the dots) that have unfolded over the past 5 years that form an image (and transformation) of White/Heisenberg are beginning to show us the totality of the show--the painting of Breaking Bad, so to speak.

Lastly, after watching the last episode of Hank's death and Walter departure in "Ozymandias," I kept thinking about the man in the row boat painting that showed up a few times throughout the series.  

This image reminded me of the tragedy of Frankenstein, who could not fit into the world, left to die alone. Indeed, Walter was certainly the "danger" as he famously expressed. But has he transformed into a monster? Or is this alluding to what we are about to encounter in the final episode?