rickie rambles randomly

Discovered via Globe Hockey via Canucks Hockey Blog:

Canucks Playoff Picture. All 30 teams are there, as well as other sports. Sportscentre showcased (who else?) the Leafs’ probability to make the playoffs, and thankfully the numbers don’t lie on that front.

Talk about a roller-coaster season… I had rolled my mouse over the low-point, that November 1 match against Nashville, which I attended and, against my better judgment, stayed to the hideous end. But don’t despair just yet. If you follow to the bottom of that page, and this is where TSN got its numbers for that Sportscentre graphic on Thursday night. Even if the Canucks can manage a 6-4-1 record (under .600) in their final 11 games, the chances of making the playoffs are 90%. Go 8-2-1 (.773) and better, and a playoff berth is all but guaranteed. I’m impressed with the methodology for the “What If?” section, as it simulates all remaining games many times over to determine the probabilities.

Needless to say, the Canucks better find scoring, and soon. Luongo can only take the team so far, and they seem content to let him steal games for them. But a combination of offense and defense will take you far in the playoffs.

Imagine my surprise when I checked my dashboard and saw this comment… from Raugi Yu, who played Kam Fong in the now-canceled jPod. I was just as surprised when that was announced last week. Should we blame the mid-season switch with MVP, which not coincidentally, was also canceled? My link to the Inside the CBC post poses the question of whether the CBC promotes its shows adequately. In the case of jPod and MVP, it was better than, say, Torchwood, the occupier of the Friday 21:00 slot before MVP/jPod, and Doctor Who, especially series two and three, and they’re CBC co-productions!. Goodness knows how much I’ve ranted against the lack of promotion for those two shows on the Doctor Who forum.

But back to jPod. After a few episodes, I was a bit lukewarm (mainly on the differences from Coupland’s text). But since the cancellation announcement, and reading the reactions, I’m actually saddened that it won’t last beyond the 13? episodes that have been made. I would be interested to see what would happen in a second season, or beyond, after the novel adaptation ends.

The CBC might have underestimated the reaction to the cancellation. Facebook groups, online petitions, and even jPod actors imploring supporters to show the CBC their dissatisfaction. So read the comment, and make your voice known. Otherwise, Kam Fong will send you to China for a “hugging symposium”.

All through March, I’ll be wearing these ribbons to remember three people important to me.

The one on the left is for my paternal grandfather, who died last year from prostate cancer. When I first heard of Harry’s Spring Run-Off, I decided to sign up and raise funds for prostate cancer research. I thought the ribbon was a nice touch, seeing how it’s part of a (very short) shoelace. I did the run again this past Sunday; the conditions were much better than last year’s rain-fest. As a result, my time was far better; but I’d like to think my grandfather was pushing me on.

The one in the middle is for my cousin, who also died last year. His death was completely unexpected, and the outpouring of grief from my extended family reflected that suddenness. He touched a lot of people, and there have been plenty of celebrations of his life in the weeks after his death. The first anniversary will be next week, and everyone (including me) is surely reflecting.

The ribbon on the right is for my maternal grandmother, who died three years ago this month. Undoubtedly, she was the matriach of the family, and she was also well-loved by former co-workers and fellow parishioners in her church. She was the archetypal grandmother: she would dote on you, she would treat friends of her children or grandchildren as if they were one of her own. Those are my best memories of her, and I am very glad she was part of my life.

Eternal rest grant unto them, and let perpetual light shine upon them. May they rest in peace. Amen.

CBC Radio Two to revamp daytime programming

What, it’s already been a year since the revamp of CBC Radio Two 2 began? That’s when Brave New Waves, After Hours, and the Saturday night simulcast of Radio 3 ceased and were replaced with watered-down equivalents. The second phase happened last fall, and the final phase will take place after Labour Day. The departures of Eric Friesen and Jurgen Gothe from their respective weekday shows probably made these changes easier to implement by CBC management.

I would have been able to take some of the changes (like 468 others in Facebook, I hold out hope for the return of Radio 3 and/or BNW) were it not for the inane promos and station idents inserted between songs, just like a commercial radio station. And if it’s not Promo Guy, then it’s the host talking endlessly between songs. Tom Allen (Music and Company) and Laurie Brown (The Signal) are the worst offenders in this category.

If there’s any hope to be salvaged, it might be in the web-only streams in each of classical, jazz, and singer-songwriter (?). If they’re anything like Radio-Canada’s Espace Classique service, then they might be worth listening to. And maybe then I don’t have to add “except Radio 2″ to my “CBC doesn’t always suck” button.

I think I’ve already mentioned that I love my new HD-PVR. So imagine my luck when I saw Clueless in the guide listings. I thus put it on record (it aired at an ungodly hour) and settled in to watch it when I would have watched something Austen-like on Masterpiece Theatre - not sure why PBS broke it up their Austen season like that.

I don’t know why I’ve avoided this film for so long; my sister had the VHS. And even after I learned that it was a modern retelling of Emma, I still didn’t watch it. But better late than never, so the saying goes.

As I watched Clueless, I marveled at two things. The first is how well I managed to pick out the Austen parallels, despite the fading memory from the last time I read Emma. Writer/director Amy Heckerling did a great job pulling in the plot elements and seamlessly dropping them in that harsh world known as high school. That leads me to my second point: the film is so quintessentially of the 1990s. I was just transported back to the time of grunge wear, skateboards, the swing craze, and a few songs I haven’t heard in a while.

I think Alicia Silverstone carried this film in her role of Cher. She had the right touches to take those varying elements of Emma Woodhouse’s character (the gleeful matchmaking, the concern over her father’s well-being, and the jealousy over Tai’s crush over Josh and her subsequent realization why) and create a convincing character that we can’t help but like. And the wide range of outfits didn’t hurt either…

I came away quite impressed with what I saw, and am still kicking myself for not seeing Clueless earlier. 9/10

Background: Metro Vancouver Transit Fares

I just came back from a Toastmasters meeting in which I evaluated a speech that supported the fare increase. It was a battle just to stay objective. Speaking with the speaker afterward, it turned out that he doesn’t like the increase either, but he made some persuasive arguments nevertheless.

Well, it’s been two months since the increase, and the former GVTA still has to fight the accusations of the highest fares in the country. OK, so the $2.50 is still lower than Ottawa’s $3.00 or Montreal’s $2.75. I guess the $5.00 three-zone fare that the MSM picked up most often led to that line of thinking.

I’m more concerned with the 80-km commute comparison. It is not fair to compare the Toronto and Montreal examples with the trip from Langley, because I’m guessing the Toronto and Montreal trips shown are by commuter rail. And AMT doesn’t go to Repentigny, yet (wiki). Knowing that, and using West Coast Express from Maple Ridge instead, these are what I looked up:

• GO Transit, Aurora to Toronto-Union: $12.30 return
• WCE, Maple Meadows to Vancouver-Waterfront: $15.50 return
• AMT, Mont-St-Hilaire to Montréal-Centrale: $16.00 return

At least now an orange is an orange is an orange. The bottom line: transit fares are high everywhere, whether you take conventional bus or commuter rail.

Aside: I dropped in at West Point Grey Community Centre earlier this week to see Coast Mountain’s proposals for two new routes. The first one, #33, will travel between 29th Avenue Station and UBC via East 33rd and West 16th Avenues (see map). I’ve known this one for a while, and there’s no change. The second one is a new shuttle, the C19, between UBC and Broadway/Alma via NW Marine. This would probably be popular in the summer, seeing as it serves Spanish Banks and Jericho, but I believe it won’t be implemented until September 2008 at the earliest, so there’s a missed opportunity to test this route.

AMT photo: mystery..110@flickr
WCE photo: Stephen Rees@flickr
GO Train photo: gbalogh@flickr

Stupid Oscars. I was never intending to watch it, but just like every year, I get suckered in and I watch it to the unsurprising end. As a result, I missed an opportunity to watch the last four hours of Pride and Prejudice (1995): the first two (via PVR) and the last two “live” on my PBS station. That was tossed out the window, and now it became a bits-and-pieces viewing that involved PVRing the final part as well, and which had to be finished Monday night.

Never mind, it’s finished. Having gone through it from beginning to end for the first time, it’s clear to me that P&P95 set the bar, and set it high, for any subsequent Austen adaptation. The fact it went almost six hours gave the producers the opportunity to explore certain things in depth and detail. Example from part 3: Darcy scouring the depths of London in search of Wickham and Lydia. Correct me if I’m wrong, but I don’t think Austen spent a lot of pages describing Darcy’s quest.

I was particularly struck with the delivery of lines in this adaptation. It seemed to me that every syllable was thought through before it was spoken out loud. Combined with the oh-so-Austen style of dialogue that is very striking in P&P, it seemed to enhance the viewing experience. This is likely the adaptation I would re-watch (if I ever get around to seeing it again in my own time!). 9/10

Going back through my computer files, I opened a short essay I had to write for a class in early modern Britain, in which we had to determine how well Austen described 18th-century English society in P&P. Reading what I’ve typed almost ten years ago, which is surreal in itself, I was surprised at how well I thought I picked up the societal implications of marrying outside of one’s social class, as well as the effect of primogeniture on the Bennet girls’ chances at financial independence on marriage, if they ever did so. I don’t remember the grade I received for this paper, but it looks like I might have done OK.

So, five down, two to go. After a so-so start to Austen City Limits, I think it’s improving. The next scheduled adaptation is not until March 23, with Kate Beckinsale as Emma. I might fill in the void with postings on my viewings of other films in the Austen canon. Jane Austen Book Club should be one of them, Clueless could be another.

(Note to self: try to find the code to insert extra white space between paragraphs.)

I’ve always been suspicious of Valentine’s Day and its attendant Hallmark-ization: from sappy cards to overpriced flowers, it all seems excessive. I’m no cynic, but everyday should be Valentine’s Day, and not just to your spouse/partner/significant other, but showing everyone near and dear to you how much you care about them.

(Not) coincidentally, February 14 is also a day of celebration for those who identify themselves as quirkyalones. I caught on to the word, and the concept, in 2004, just after Sasha Cagen published her “Manifesto for Uncompromising Romantics”. Cagen’s original essay, which dates back to 2000, sums up quirkyaloneness rather well. When I read that for the first time, I was struck at how well her description of quirkyalone matches my state of mind about relationships. For me, one paragraph stands out, and it’s so poignant that I’ve re-printed the last line on a Post-it on my desk:

For the quirkyalone, there is no patience for dating just for the sake of not being alone. We want a miracle. Out of millions, we have to find the one who will understand.

I would describe my single-ness as being 70% by choice, 30% by circumstance. It’s something I’ve long accepted, despite the frustration that pops up from time to time, and if that “miracle” never happens, then c’est la vie. On this Feb 14, therefore, I’ll just go about my day, celebrating not just quirkyaloneness but the independent spirit attached to it.

Happy International Quirkyalone Day!

Quiz - How quirkyalone are you?

(IQD graphic from quirkyalone.net)

Moving sucks. It sucks so much time from you that it’s just draining. There’s too much to do, so little time, and that includes blog posts. At least there’s the magic of the PVR.

At the moment, I’m typing and watching the BBC’s 1995 adaptation of Pride and Prejudice. It’ll be over three weeks, and I’ll wait until the end to compile thoughts about it. Given that this is almost six hours long, the four previous entries in this Austen season pale in comparison in terms of plot and pacing. Even at 90 minutes or so, these films were still subject to editing, which leads me to two posts on AustenBlog:

A public service announcement of the Janeite Broadcasting Network
PBS responds

The uproar from more ardent Austen fans revolves around the slight edits of what are already condensed adaptations (if the Editrix at AustenBlog is right, the deleted scenes between the original UK airings and the Masterpiece versions are nothing to write home about), and that the DVD releases for Region 1 are not even the uncut, UK versions!

I’ve already mentioned in my post-Mansfield post that a certain plot point from the novel has been removed in that film. The lengths used here certainly weaken the stories (and any search will show the criticism to the lengths of these adaptations). Again, AustenBlog’s editrix says it best: “One of the selling points of the ITV “Jane Austen Season” was that “each generation deserves its own Jane Austen adaptations.” Too bad this generation gets the short-attention-span versions.” When this Pride and Prejudice is concluded, the difference will be like night and day.

And going through the first hour of P&P, I can add to my Austen-Doctor Who connection: Christopher Benjamin as Sir William Lucas and as the excellent Henry Gordon Jago in The Talons of Weng-Chiang.

I’ll admit right now that I have little knowledge of the biographical Jane Austen during the period covered in Miss Austen Regrets (mainly 1814-1816), but I do know of the letter burning performed by sister Cassandra after her death. I also admit not to have seen last year’s Becoming Jane, which, by all accounts, sensationalized certain aspects of Austen’s love life.

So, going in with no predispositions or expectations of any sort, I came away impressed with Miss Austen Regrets. It was well-written, well-directed, and well-acted. Well, it certainly was a refreshing change to the more predictable adaptations we’ve seen so far in Masterpiece’s Austen season.

A big heap of commendation should go to Olivia Williams as Miss Austen: she certainly ran the gamut in this film, from the flirty to the morose. With that range and how Williams portrayed her, there is the possibility that Miss Austen was masking her inner turmoil from the “regret” with the bubbly personality that would otherwise seem natural. (I for one found it amusing Miss Austen writing to Cassandra about the social drinking and the hangover that results the next morning!) Now that I think about it some more, the Jekyll-and-Hyde persona of Miss Austen is almost mirrored in the film’s pace and mood (the lighting in particular seems to reflect this).

That second half, in which Miss Austen was more moody and combative, was far more interesting, not least for the dynamic between her and Cassandra. The scene in which she confides in Cass, unknown to either that niece Fanny was watching, was heartbreaking. The suggestion made in Regrets that Cassandra “persuaded” Miss Austen from breaking off at least one engagement evidently mirrors Lady Russell and Anne Elliot in Persuasion. I suspect screenwriter Gwyneth Hughes inserted other attributes of Miss Austen’s heroines and attributed them to the author herself. There could definitely be a whole film dedicated to the relationship between the Austen sisters; the plotline shown here probably is scratching the surface.

Miss Austen Regrets has much to recommend itself, and should be a highlight of Jane Austen City Limits. 9/10

Photo credit: PBS/Masterpiece