I’ve gathered up some bits of wisdom of late that I’d like to share.
First up, how to…
…Figure out what streaming service a particular show is on
Netflix, Apple TV, Disney+, Prime, Crave, Tubi, CBC Gem… It’s nuts. So many services! I don’t subscribe to them all, but enough to make it hard to remember what’s where.
It’s even more confusing for Canadians, since US media will tell us a show is on a service we don’t have in this country (Hulu, Peacock, HBO+)—but that doesn’t always mean we can’t get it on a service we do have. Even more confusing, just because it’s on an American version of a service we have (like Netflix or Prime) doesn’t mean it’s also on the Canadian one. Could be on some other service entirely here.
This is why I love the JustWatch app. You select the streaming services you have access to and it serves up what’s on each. You can set up a Watchlist of every TV show or movie you’re currently watching, or plan to watch, and have one-page look of everything you’re currently caring about. You can mark off episodes or movies as you watch them. It will notify you when new episodes or a new season become available. And it has a pretty good recommendation engine if you need more to watch.
Of course, you can also use it to look up some show you’ve heard about, to find out if it is available to you at all, and if so, where.
…Watch Poker Face
Solid as I generally find the JustWatch app to be, one thing it doesn’t quite get is conventional cable. Particularly when it behaves unconventionally.
I’ll blame Gus the cat for my slowness in getting into any kind of Christmas spirit this year. A few weeks after his pretty speed recovery from the injury above his eye, he suddenly come down with something… He stopped eating, grooming, or doing anything other than shuffling uncomfortably from one sleeping spot to another. It was a weekend, and the vet was open only for supplies, not medical appointments. They suggested taking Gus to the emergency veterinary hospital.
There he got tested for everything imaginable. He had some neurological symptoms—asymmetrical eye pupils, inconsistent results on the “knuckling” test—and few slightly abnormal results on the blood test. Could be infection, could be tumors… He was admitted and hydrated, appetite stimulated, given pain killers, and started on antibiotics. I went home to fret.
Gus responded quite well to the various ministrations, though, and we were able to take him home the next day. He seemed pretty good from that point, though lower energy, and with the uneven pupils persisting a while. We continued the antibiotics for seven days, and a few days later, the eyes improved, the energy back. I brought him in for a final check from our vet, who found that all seemed good, except for the eye on the injured side looking a little irritated.
So she suggested a week of twice daily eye drops. Gus was much better about letting us give him those than we expected. What seemed much more upsetting to him was if we had to chase him down first; he’d sometimes hide for hours afterwards. So we took to surprising him with eye drops. Those done, he continued to seem quite fine.
Jean was complaining that I hadn’t posted anything in ever-so-long—which is kind of true. I’m off for some Christmas vacation time now, so possibly a few posts will be forthcoming. I’ll start here, though, not because it’s most urgent or relevant, but just that it should be good for warming up the writing muscles.
Early in December, we left our house to go to the cinema and see a movie in person! Now, unlike some people, we have done this on a few occasions in these After Times. But I had not realized quite how long it had been since we had visited the Princess Cinema. So long that our membership cards had expired—in July.
We decided that a new membership was probably not a wise investment, even though you only have to see something like three movies a year to make it worthwhile. We just paid the non-member price to see The Menu.
The Menu begins with a small group of people waiting to board a boat to a highly exclusive restaurant on an island. At the centre are Margot, played by Anya Taylor-Joy of Queen’s Gambit fame, and her date Tyler (Nicholas Hoult). Margot wonders how the restaurant can be profitable with such a small clientele. “$1,250 a person” replies Tyler. Margot is stunned, but since it’s on Tyler’s dime, is game to go along.
Not being a devotee of the “foodie” scene, however, Margot finds the serving rituals and staff manner rather odd. To someone who does do the “foodie” thing on occasion (albeit not at $1,250 a pop), the emphasis on freshness and regionality (when the clients arrive, staff are literally fishing for the scallops to be served later), the open kitchen and extensive table settings, and the elaborate presentation of each course is kind of familiar—but in this movie, also a bit strange. The staff is so disciplined. The rules of dining are so strict. And aren’t locked doors a fire hazard?
And the bread course? I don’t want to spoil what happens there, but while kind of weird and off-putting, it also seems, maybe, possible?
But as hinted in the trailer, the movie then moves on from the merely strange to… rather horrifying. (No soylent green, though!) For the squeamish, I would say, that while there is violence, it was nothing I couldn’t handle—and I’m pretty squeamish. Though I possibly did close my eyes at one moment…
Class issues definitely come up, particularly centred on Margot, the one client in a different socioeconomic class than everyone else there.
And through all this, the movie remains pretty funny. You’re never lulled into thinking it’s a documentary. “Dark comedy”, they say. I guess that’s a good descriptor.
I found it all pretty riveting, from the mocking of foodie culture, to the dark turn, to the various plot twists. Jean was never bored, but he wasn’t sure until if he actually liked the movie. But finally concluded that he did (though he was also left wondering if he should feel guilty about love of fine dining).
I think it would definitely appeal to other foodies, to horror fans, to fans of dark comedies, or those who appreciate movies with originality.
Yesterday we went to see Everything Everywhere All at Once, in a theatre, and—wow! I was just riveted. It was one of the most original movies I’ve ever seen. And so funny! And even makes you think of about the big questions: the meaning of life, the universe, and… everything.
Jean, who is not as into surrealism as I am (did I mention I’m also rewatching Russian Doll?), wasn’t quite sure what to think. But I assure you he wasn’t bored, or complaining about lack of plot. And he agreed it was quite funny.
(Much to my annoyance, I forgot my CO2 monitor and so am not able to add Landmark Cinemas to my list of ventilation ratings. Being in a newer building, and given that the high-ceilinged theatre was not at capacity, I suspect the reading would have been fine. But it will have to wait til next time to confirm. This time, about 40% of movie attendees were masked.)
A few other movies Jean and I have watched at home recently-ish, and both enjoyed:
Trainspotting 2—No idea if this would hold any appeal to people who haven’t seen Trainspotting the first, but Jean and I enjoyed this “20 years later” revisit of the characters, with its clever callbacks to the first film.
Empire Records—The script for this 1995 flop kind of is a mess—a story intended to take place over two days was edited down to appear to all happen on one, and it’s not entirely coherent. But it is fun. And the soundtrack is great. And the cast and characters, especially the women, Renee Zellweger, Liv Tyler, Robin Tunney, are appealing.
Palm Springs—Also surreal-ish, this romantic comedy has a different but appealing take on how the couple ends up stuck together. Stars Andy Samberg and Cristin Milioti.
The Long Shot—Romantic comedy starring Seth Rogen and Charlize Theron. Is Seth way out of Charlize’s league? Yes! But the movie absolutely addresses that point. It basically worked for me. And there’s sort of a wish fulfillment part in Charlize’s character running for President…
After categorically stating (and repeating) that there was no way, no how that Ontario would require proof of vaccination to access certain public spaces, Premier Doug Ford announced that Ontarians would be required to show proof of vaccination to access certain public spaces. The change of heart itself was no surprise to most Ontarians, who’d by now witnessed many similar policy pivots, but its timing was: early September. That is, before the COVID case count was terrible and inevitably about to get worse before it could get better.
Ontarians were then surprised again to find that from roughly that point on—before the policy actually took effect, and despite the start of school—case numbers have improved. Just slightly improved, and still not as good as last summer, but definitely on a downward. Something that it not happening everywhere in Canada.
So Jean and I have been getting out there. A little.
I wanted to see the new Marvel movie, Shang-Chi and the Legend of the Ten Rings—mainly because I was a fan of the lead actor, Simu Liu, from Kim’s Convenience. But I also liked that it was an origin story, so it wouldn’t matter that I wasn’t versed in all the intricate details of the Marvel universe. That it was both a critical and box office hit also seemed promising.
I figured that seeing it at the Cineplex VIP theatre would be good, because then we could get an actual meal. Made it quite manageable to go there after work for the early evening showing, even though the VIP theatre is kind of across town from where we live.
COVID protocols in place when we went: They checked for vaccination proof (and mask wearing) at the entrance to the building. Then at the entrance to the VIP theatre, they did contact tracing. Each theatre was limited to 50% capacity; when we bought our tickets in advance, we selected our seats, and the system then blocked off the ones to either side of us so we knew no one would be sitting there.
Mind, the movie had been out for about four weeks by then, and it was week day, so though the 50% capacity of that rooms was 35 people, I think there were only about 10 there? And nobody else in our row.
So we felt pretty OK about unmasking to eat our dinner. We don’t get to the VIP theatre often. I still love the novelty of ordering food and wine (!) at my extra-comfortable, reclining seat. My edamame, fish taco, and Kim Crawford Sauvignon were all quite fine. Jean also liked the edamame and his Malbec, but was a little less impressed with the pulled pork.
As for the movie, I found it really fun. Jean complained about how many fight scenes it had. He’s right—so many fight scenes! Normally, this would bore me. But I thought these were quite well-choreographed fight scenes that did move the plot along. It was too bad Simu Liu didn’t get more funny lines—Awkwafina (who was great!) got most of those. But he looked good. I was diverted. Nice night out.
The following Monday, we went to see a different sort of film at a different sort of theatre (but with basically the same COVID protocols to follow): I’m Your Man, at the local art cinema, The Princess. The premise of that one is a woman scientist tasked with testing a humanoid robot designed to be the perfect partner for her.
Tom, the robot, is endowed with artificial intelligence that causes him to adapt to whatever his “partner” wants, though in case he has a partner who’s skeptical of the whole idea and trying to maintain objectivity. As he dials down the romantic gestures and ramps up the practical assistance he can provide, she gives him more mind, and then more heart…. It was quite engaging and thought-provoking and—though Jean thought they could have done even more with the premise—we both enjoyed it.
Then later in the week, we decided to try some more indoor dining, back at S&V Uptown. It’s our third time there since they moved to uptown Waterloo, and again we were really impressed. In terms of consistent food quality, I think it’s the closest we’ve come to Verses—the only issue is the tendency to sometimes over-salt the sauce, at least to our taste. But even that never ruins a dish, because nothing is ever drowning in sauce.
They had just launched their Fall five-course menu, and that’s what we had, again with shared paired wines (1.5 oz each per serving). Fried oysters, halibut with mushrooms, beef cheek, sponge cake…
(I also finally got to wear my new pantsuit.)
Meanwhile, in another bout of optimism, I’ve acquired tickets to a number of events at Centre in the Square for the coming months:
Blue Rodeo (in December)
Letterkenny Live (in February)
Billy Joel’s The Stranger by Classic Albums Live (in April)
I will mention that the rapid testing program that I blogged about previously has been shut down by the Ontario government. Not entirely—it can still be used by the small businesses it was originally intended for. But Communitech’s extension to community groups and individuals was making the province look bad, I guess, so they put a halt to it.
Ontario has reached that point in its slow reopening where almost everything is reopened, but with some restrictions, like distancing, capacity limits, and masks. Vaccination rates are some of the highest in the world, but the pace of increase is slowing. Case counts are fairly low, but slowly starting to rise again.
Mentally, I still switch between feeling fairly good / confident (I probably won’t get it! And if I do, it shouldn’t be that bad!) to still somewhat anxious (But the delta variant! What about long covid!).
And I have missed doing things. Some things, anyway.
One of the local restaurants we like, Swine and Vine, decided to move from its Kitchener location to uptown Waterloo. As part of the move, they rebranded, changing their name to S&V Uptown, and changing their menu focus away from charcuterie board to “upscale bistro”. I loved the look of their menu. I thought that they might not be so busy on Tuesday nights? So we decided to try it, as our belated anniversary dinner out.
Though they don’t have a dress code or anything, we decided to spruce up a bit for the event. I dug into the far reaches of my closet for shoes with heels—first time wearing such-like footwear in a year and half. (Wedge heels, though. Didn’t want to twist an ankle.) And though it was a nice enough day for their patio, we thought we’d try the indoor dining thing. First time we’d done that locally since—well, you know.
It was a quiet evening there, with no other dinners seated right beside us (distanced though that table be). And we were quite impressed with the whole experience:
The service was quite attentive and knowledgeable. They presented and described each dish as served. They were able to guide us to some good wine matching choices.
Everything was creative and delicious, with the octoplus a la planchette and lamb noisette as highlights.
The few service hiccups (they did just open in this space, with this new menu) were smoothly addressed. Our entrees were slightly delayed, so they gave us a pate taster to tied us over, and still compensated us on the bill.
Movie theatres have also reopened at half capacity (masks mandatory for entry and recommended when seated, except when eating or drinking). The last movie we’d seen in person in the before time at The Princess was Parasite, the Oscar winner. This week, in deciding to venture back, we went to see Nomadland, this year’s Oscar winner.
I didn’t pay much attention to the Oscars this year, so Nomadland wasn’t really on my radar until Jean mentioned that he’d read and quite enjoyed the book the film was based on. I then watched the trailer and thought it looked interesting.
It’s about people whose economic circumstances cause them to live in their trailers, or vans, and move around America in search of work. They converge on Amazon to help with the Christmas rush. They work in national parks during tourist seasons. They pick beets. Work in restaurants. It seems kind of bad—and in a number of ways, it is—but maybe not that bad? In terms of the freedom, the camaraderie that develops among the people who do this (the “nomads”), and the ability to see the beauty of the country.
An engaging film, even without a huge dramatic through-line. (And wearing a mask during a whole movie is moderately annoying, but quite doable.)
This long weekend we got tickets to see a production in Stratford. Unable to put on their usual large, elaborate, indoor productions of Shakespeare, musicals, and other plays, they have on offer instead some smaller plays and cabarets, presented outdoors, currently with a limit of 100 people in attendance (I believe with expectation that they can increase this later in the season). At those numbers, pretty much everything sells out, so it was thanks to advance ticket access that we were able to get tickets to the cabaret Play On! A Shakespearean Mixtape.
That took place on a rainy-ish day, with thunderstorm risk present. Still, it was sunny when we walked in under the canopy, about 10 minutes before the start.
But about 5 minutes after it started, the thunderstorm kicked up.
Now, everyone was under canopy, and we were pretty centrally seated, so we stayed dry—unlike the people nearer the opening, who had to raise up their umbrellas behind. And the wind, occasional thunderclap, and sight and sound of heavy rainfall were somewhat distracting to everyone for the storm duration.
But wow, the four singers—two young women, two young men—were terrific. (And one of the gents seriously looked like slightly portly Adam Lambert.) To introduce songs, they would perform some lines from the associated Shakespeare play, then launch into the song. It was quite a wide-ranging set: Taylor Swift, Radiohead, Rush, Mumford and Sons, Madonna, Prince… Well, here’s the playlist:
Some songs were played for laughs—Brush Up Your Shakespeare, Billy S., I Am the Walrus. Some performances were haunting—A Case of You, and especially, Exit Music (For a Film). And some were awesome, notably the take on Rush’s Limelight. Overall, great to hear live music for the first time since January, 2020.
We had selected The Bruce Restaurant for dinner. And we had hedged our bets by making two reservations: one for the patio, one for indoors. Of course, we didn’t want to tie up both tables, and the weather forecast made us think that indoors would be a safer bet. But by actual dinner time, it had pretty much cleared up again. Unfortunately, when asking about being seated outdoors, a large party had already filled the space.
Again, it wasn’t a full establishment, though it was a little busier than S&V Uptown. And just as good! I started with a lovely watermelon salad with a glass of Champagne, while Jean had a goat cheese and beet entree with Stratus White. He then had an amazing truffle pasta with a Languedoc Pinot Noir (new to us, Pinot Noir from that region) while I enjoyed a lobster BLT with the Stratus White. (The bread and bacon were the highlight of that sandwich.)
For dessert, I had berry assortment, with berry tea, while Jean had a cheese plate.
And now we have an email that some ballroom dance classes are restarting—refresher courses (literally). Hmm…
This year, like most other people, we weren’t able to do what we normally do at Christmas time. A chance to develop our new traditions, perhaps? Except… Will we really want to nostalgically recall anything from 2020?
So hey, best to focus on the now, and on the “what you can do” vs. what you can’t. In 2021 and subsequent, we’ll see if anything sticks.
The world is on fire and I’m feeling a bit overwhelmed. So I’ve decided to write about movies.
The last movies we saw before the theatres shut down were Knives Out and Parasite. Knives Out was a terrific, twisty, murder mystery with an incredible cast. ****
Parasite was last year’s Academy Award winner as Best Picture. In it, a low-income South Korean family con a rich family into gradually hiring each of them. Then things get twisted… ***½
Those are both available for streaming rental now.
Since then, we’ve been dubbing one night each weekend “movie night”, making the popcorn, and watching a flick on the TV. Initially, it was an anxious time, we wanted something not too heavy. Eddie Murphy’s Dolemite Is My Name (Netflix) was a great inaugural, telling the story of how failed comic Rudy Ray Moore (a real guy!) reinvented himself and became an unlikely success. Reminded me of The Disaster Artist. ****
Then we tried The Greatest Showman (Netflix), a movie that critics dumped on but audiences loved. Jean was skeptical about a musical based on PT Barnum, but we ended up siding with audiences and enjoying it. *** As we did Shazam (HBO), a humorous superhero movie from the DC Comics universe. ***
Was one of the first famous people to come down with coronavirus (remember that?), which somehow inspired us to catch up with a couple of his movies. Sully (cable) told the story of the pilot who landed the plane on the Hudson River, saving all 150 passengers. We hadn’t realized there had been some doubt as to just how heroic his actions were. *** And Charlie Wilson’s War (Netflix) told the rather interesting story of the US’ involvement in supporting Afghanistan rebels in their fight against the Soviets—without ignoring how that all went wrong in the end. ***½
Girls behaving badly
While not viewed in sequential weeks, for whatever reason we seemed to be drawn to movies about women breaking the law. Or maybe it’s just that they’ve making more of these lately? At any rate…
Ocean’s 8 (HBO) is part of the movie franchise that started with George Clooney’s Ocean’s 11. Kind of a trifle, but entertaining. The difference is that the group of eight are all women, and that does add a layer of fun. ***
Molly’s Game (Netflix) was written and directed by Arron Sorkin, so there is a whole lot of smart, fast-paced dialogue in the telling of the story of Molly Bloom, a former champion skier who ran an exclusive poker game for rich people, including some very famous ones. Initially run legally, ultimately it was not, and the movie starts with her legal troubles and flashes back.
Jean liked this one more than I did. It’s definitely an interesting story; my problem was in the great effort to turn Molly into a noble hero, which I didn’t quite buy. ***
Hustlers (Prime) told the story of strip club employees who, after the Wall Street crash, started drugging their clients to lower their inhibitions and get them to spend more than they otherwise would have on booze and women. Definitely behaving badly! But what’s really compelling is the relationship between the women. It’s like friendship porn. And this one, I liked more than Jean did. My score would be ***½.
Have you heard of Tubi? It’s another movie and TV streaming service, only free—ad supported. Very few ads, in my experience, so I wouldn’t let that put you off.
I noticed they had We Need to Talk About Kevin, based on a good but disturbing novel I’d read of the same name, about a woman who decides to have the child her husband wants, but she doesn’t. That it doesn’t turn out well is a bit of an understatement.
I got it in my head that I’d like see how they adapted the novel to film. They didn’t do a bad job of it—Tilda Swinton is very good in the lead—but overall I preferred the novel’s elaboration of the story to the movie’s inevitable compression of it. As for Jean, he might not forgive me for having him watch this. The story haunted him for days afterward. **½
The movie also led Tubi to recommend a whole series of other disturbing movies to me, none of which I would ever watch. To try clean that up, I selected The Lady in the Van as my next Tubi movie. This British film tells of the relationship between an educated homeless woman and a single male writer. It’s pretty enjoyable—Maggie Smith is terrific—but it is based on a true story that wasn’t overly “Hollywood-ized”, leaving the overall narrative arc a little less satisfying. ***
And I don’t know that it’s truly “arty farty”, except that it’s now an older classic, isn’t it? But we watched Saturday Night Fever (Hollywood Suite), the first time either of us had seen it. Since it’s mostly remembered for John Travolta’s disco dancing, the grittiness of it is a bit shocking: the casual use of the n word, the date rape… But it is a movie worth seeing. ***½
The Princess Cinema started offering some streaming movies recently, and in support of them, we rented The Trip to the Greece. It’s the fourth in a series, and we hadn’t seen any of the previous ones, so it was a bit odd to just jump into this one. Not that there’s a whole lot of complex plot to follow, mind. It’s just two guys who take a road trip, banter with each other, see spectacular scenery, and eat great meals.
The banter is often amusing, but very pop culture–driven, and Jean, particularly, often couldn’t get into it as he didn’t know what they were on about. The funnest part was us saying “Bastard!” every time they sat down for another amazing restaurant dinner, the likes of which are not accessible to us right now, of course. **½
I haven’t blogged in ages because I keep thinking that I should write something personal and insightful. But when I start trying to do that, I just get bogged down. I don’t want to seem preachy, I don’t know how much I want to reveal–I just don’t enjoy it.
So chuck it. Let’s talk about Greta Gerwig’s Little Women.
I work at a tech company, and before the Christmas break, the chatter was all about Star Wars. Who would see it when, how many times, in what format, and at which theatre. So much excitement.
… Which I couldn’t share, ’cause I didn’t care. I did see the first two in this new Skywalker set. I thought the first one was too much of a rehash of the original Star Wars. I found the second better, more interesting. But this one, somehow, really seemed primarily aimed at the super-fans (who are legion). I’m sure it’s an entertaining enough movie. But I’m in no hurry to see it.
When I first saw the trailer for the new Little Women, I wasn’t sure it was necessary, given that the 1994 version was so good. I was intrigued, though, by the near suggestion that maybe Jo… Doesn’t get married?
And then all the amazing reviews started coming out, so I started really anticipating its release. I had visions of seeing it at the VIP theatre–lounging in my comfy chair, being served appetizers and wine–but then realized that while it was playing at that theatre, it wasn’t in the VIP room. (Not with stupid Star Wars hogging a bunch of those screens.) So instead we trundled off to see it at on a regular screen at a regular theatre, with regular seats and not even any popcorn, because the lineup to get that was too long. (Stupid Star Wars.)
Jean’s been watching a bunch of women-centred shows with me lately: TV series Fleabag (which he loved), the movie Girls Trip (which he did not; must agree it was pretty stupid), and the movie Booksmart (I liked this one more as it progressed; he remained unmoved by the main characters).
With Little Women, he loved the cinematography and found the characters interesting, if not always likable. He’s never read the book and doesn’t remember the 1994 Little Women (which we saw together), so the story was all new to him. He declared he wished there was more plot. (Does Fleabag really have any more plot, though?) And he kept mixing up the actors playing Beth and Amy (declaring they looked too much alike), which made for a certain amount of story confusion, as you might imagine.
Me, I read the book multiple times in my youth, so it was all about seeing how the famous scenes were interpreted this time. And the unique approach here is that much of the story is told in flash-back form, as the movie begins with Jo in New York, meeting Professor Bhaer. As events occur in that time line, she thinks back on moments from her youth.
It’s kind of an exhilarating way of presenting it, as those of us who are familiar with the story are also, basically, looking back on those scenes with nostalgia. Giving away Christmas dinner to the Hummels. Getting in trouble over pickled limes. Oh right, the ice skating accident. Beth and her piano. The burnt dress. The burnt dress. The burnt stories! (So much burning!)
The movie just skitters along at a contemporary pace, moving across scenes before we can get bored with them, but without seeming rushed.
The actors are all terrific. Among the famous are Saiorse Ronan as Jo, Emma Watson as Meg, Timothy Chalumet as Laurie, Laura Dern as Marmee, and Meryl Streep as Aunt March. Not previously known to me were Florence Pugh as Amy and Eliza Scanlen as Beth, which I assume contributed to Jean’s confusing the two of them. They stood up among this cast, with Pugh doing an especially great job with Amu. And I would note that both actors had startlingly rich, deep voices, which was really striking (to me; Jean claimed to not have noticed).
But does Jo marry? (Spoiler alert, I guess?) That’s the thing: it’s not clear. By that point in the story, Jo is working on a novel called Little Women, based on her life. She is discussing the fate of the fictional Jo with her editor, he of the opinion that women characters must end up either married or dead. There is a scene of Jo and Professor Bhaer kissing in the rain. But did that really happen or is it just written into the novel…?
This Vox article–The power of Greta Gerwig’s Little Women is that it doesn’t pretend its marriages are romantic–gives a great take on Little Women‘s “marriage problem”: that it’s hopelessly unsatisfying that Jo ends up with Professor Bhaer (especially the way he’s described in the novel) while Amy gets Laurie. Apart from making Jo’s marital status ambiguous, Gerwin makes the Laurie / Amy partnership much more palatable partly by, as the article says, spelling the economic reality for women at that time.
Sorry, Star Wars fan, for dumping on your movie, which I haven’t even seen. Just a joke. I do hope you enjoyed it. Because I do understand loving something in your childhood / teenagehood and wanting to see it re-created on-screen. Only for me, that something is a novel about four young women in the time period of the American Civil War.