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popculturebuffet · 3 years

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Ducktales Reviews: The Town Where Everyone Was Nice! or Scrooge Is the Lindburgh Baby

Saludos Amigos! The Ride of the Three Cablleros has at long last come to the last stop before it’s final phase. It’s been a hell of a ride so far: Our boys have tried to woo some ladies, performed some black magic, had some sort of drug trip, dealt with Donald’s ego, helped goofy ungoofy himself...

“SEASONS CHANGE, TIMES CHANGE BUT UNGOOFY IS FOREVER AND ALWAYS HE IS ALWAYS THERE” ... I created this magificent stalion.. kinda I think he came out of a styigan hole in the universe from the darkest dark in the dark of the dark... I can’t be sure. Our heroes fought an arrogant prince, found a lost city and helped donald get his smile back. All culminating in our heroes going to Spain for some reason, soundtracking Goofy’s win against Horace in Flamico Dancing, somehow that wasn’t a Covid induced fever dream I had but the actual premise of the episode, and then played some soccer with Daisy’s cousin and Pancho Pete. All in all we’ve had some good times getting here and I feel acomplished having made it this far. While I’ve still got quite a ways to go, getting this far means I really made something.. and not just the 80 something dollars it took to comission all of this. And I genuinely just want to thank all of you for reading these as these have easily been some of my most popular reviews and @weirdkev27 for comissioning all of this. It’s been easily one of my faviorite projects so far and I look forward to the final leg of it soon. For now though we have one last adventure before the biggest one starts. But before we can dive into it you probably have a few questions, and since I don’t really need to give Ducktales 2017 a lavish introduction as unlike most stuff so far this show is well and familiar: it’s what got me started reviewing animation on this blog, it’s what got me into the duck community as a full member, and it’s what caught Kev’s attention leading to this entire series. So I have time to answer the questions your probably asking and if your not.. well here’s the answers anyway Wait aren’t you going to cover Louie’s Eleven?: Nope. While I love that episode, I already did a full review of it earlier this year. I saw no reason to completely and utterly redo the entire thing when my opinions toward the episode haven’t really changed. That being said since I didn’t touch on the boys characterizations in that one too much and since I do want this retrospective to be comprehensive, I will talk about Panchito And Jose’s characterization there briefly during this review at the right time as a compromise.

Wait why isn’t THIS the last stop since it came out AFTER Legend of the Three Cablleros: Simple.. it felt unsatsfying to both me and kev to end on this one. While their apperance here IS a good one and a big deal... it’s also ANOTHER guest apperance. It’s something I didn’t quite realize for now but outside of the movie.. every apperance after is them guest starring in another series. Their aperances in Don Rosa’s Duck Comics, while awesome and treating them with proper respect, were still them showing up to shake up Donald’s stories and formulas. They were LITERAL guest stars in House of Mouse, and Roadster Racers was entirely just��“let’s shove them in there because we can”. Legend.. is their story. Their moment in the sun after too damn long with all three as main characters and while being a lead is normal for donald, Jose and Panchito really HAVEN’T had that shot outside of their home countries. To be the hero of their own fully realized epic adventure. So it just fits best to have the road lead there instead of have all that happen.. then go back to yet another guest appearance. The other major factor.. is that while Legend came out around the same time as ducktales, to the point many compared and contrast both shows treatment of Donald, this episode is what most non-latin american audiences saw first as it took Disney WAY too damn long to air the series over here.. i.e. until Disney Plus launched, finding it somewhere online was the only option despite the series being produced in america with some really big american names voice acting wise. Point is this came first to some people, so i’m using that as a flimsy excuse to put it ahead so we get a better finale.

Now all that’s settled, let’s dive into “The Town Where Everyone Was Nice!” and see what one of the best duck propeties period makes of our boys.

We open in a remote town in Brazil. It’s the Festival of the Flower.. which is a bit off to me. While it DOES kind of make plot sense.. the problem is the lure was written to Panchito and Jose.. Jose whose a brazil native and could’ve possibly been supscious that a tourist invintation wasn’t in Brazilian Portugese, the countries national language and something I specifically researched just to see what it’d be called. For the record it’d be O Festival da Flor acording to google translate, which still sounds neat, Webby could’ve still said it means festival of the flower. It just feels like a missed opportunity from a creative team that’s taken such pains to make the series feel as authentic as possible and clearly put a lot of hard work and research into making each location feel like it’s real world counterpart. But it’s a minor thing and we soon get our two plots for the episode: Our B Plot.. is that Dewey can’t stay the fuck off his phone and is taking pictures rather than actually getting experiences with Louie enabling him, while Webby gets increasingly frustrated at Dewey not actually botherting to experince this unique and obscure culture. We’ll get back to this in a bit.

Our main plot naturally concerns the reason our heroes are here: Donald is reuniting with The Cabs, who in this continuity are his old College friends who Scrooge hates due to having to listen to them practice constnatly and tells the kids they’d hate it worse than his playing the bagpipes.

Bagpipes are objectively the worst insterument on earth. They are loud, unharmonic and generally just obnoxious. I do respect how important they are to Scotland, home of David Tennant, Grant Morrision and .. Alan Cumming and James Macavoy? Wait what? that’s awesome! Point is Scotland is great but I do not like the bagpipes except when Bugs Bunnny is murdering them. Honestly Donald’s college band was probably more like this. Nothing bad at all just mildly pathetic and mildly pathetic is what got Donald a girlfriend, so it’s not a bad look

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That brings me to another point: Scrooge is pretty obnoxious in this episode. It seems like his sole reason for coming was to bitch about Donald’s old college band. He could’ve just sent them a stern letter like the pros at being a cranky old geezer do.

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I do GET why he’s here as there are some REALLY damn funny bits with him in the a-plot, it just feels like they could’ve justified it better. But on to better things as Jose and Panchito enter the scene after Scrooge claims they “weren’t so cool”.. with Panchito diving from a plane and drifting down on his umbrella

And Panchito shows up dramatically playing the guitar. A truly awesome and worthy intro to our boys. So let’s talk about them in this series. Honestly the two really aren’t that diffrent from usual, though Jose’s lady chasing is given to Panchito, his footloose world traveling lifestyle remains in tact as does his genuine charm while Panchito remains the peppy one, just with his outbursts gone as his guns are replaced with cell phones..

Yeah while I do get replacing the pistols because let’s face it the mexican of the group being a gun nut was pretty damn unfortunate, though Don Rosa toned it down and justifed it well, and frankly guns are a hard no for family shows these days unless their laser guns so replacing them I get. But instead of I dunno giving him knives or turning his holsters into pouches carrying his stuff.. he just has two Cell Phones. It’s weird. It dosen’t really make sense other than for him putting on a big shot act and even big stars probably don’t have two phones on them at all times. It’s just a VERY weird update that makes not a whole lot of logical sense and I belivie is thankfully gone by the next ep. The only real issue I have is the two just sorta blend together personality wise instead of being distinct like usual, but that’s also happened in other apperances, so it’s not exactly a new or unique problem, and the two’s voice actors do a great job making both feel like they should.

Speaking of which let’s just go ahead and discuss that elephant in the room: The Cabs were recast for the first time in ages, which didn’t sit well with friends of legend as Eric Bauza, who’d replaced rob Paulsen, was himself replaced by Arturo Del Puerto and Bernado Del Paulo replaced Jamie Camil and Carlos Aquazi as Panchito. And I have mixed opinons on this one: Replacing Eric was a no brainer: while he’s a terrific voice actor.. he’s not brazilian and the crew of Ducktales 2017 perfer to cast actors who match their characters backgrounds, which again adds to the authenicty of it’s globetrotting and scope. They don’t ALWAYS, Cree Summer isn’t, as far as I know, Egyptian and Catherine Tate, while wonderful, isn’t italian. But for the most part it adds a nice flavor to things and frankly I personally prefer it when Jose is voiced by an actual brazilian man. So that change i’m fine with. Not using Camil though... I do not get. Jamie Camil is a throughly talented voice actor, having done TONS of great work lately , vocing Globgor for star vs and not getting nearly enough screen time as the loveable demon dad, and stealing the show as Don Carnage earlier in the series. While that episode is one of the series weakest, he’s still easily the best part of it and I hope Carnage shows up one last time before the finale.

So it really makes.. no sense to me to replace him. Not only is camil a bigger named actor, but he was already on the show and even the defense of “well they don’t want actors playing multiple rolls” ended up utterly destroyed by the end of the season, as Christ Dimatopolus not only reprised Storkules, but went on to play Drake and Melon, and picked up a FOURTH role in season 3 as Hades. My point is the show has no real issue with doubling up on voice rolls, so I scratch my head as to why Camil wasn’t given this part too despite being the obvious choice. Del Paulo isn’t a bad actor and is great in the role.. I just scratch my head why he was needed when a perfect actor for the part was right there and already had experince with the character.

I do think Puerto and Paulo are terrific and do the characters justice, issues with Paulo being there at all aside, and they do a great job and more than earned the roles and I don’t think the mass critcisim of this version of the characters is entirely warranted.. for this episode. This episode while they can meld into each other... that happens in most of their apperances anyway, so it’s not unusual or unique to this series. I will say however that the way their written in their next apperance is utter garbage: they aren’t really given any chances to be distinct, are basically written as one person even worse .. and that one person is a greedy asshole who takes advantage of their friend and never apologizes. I do get why people did not like them in that episode. I do think it has no baring on this one and people should stop bashing these versions as a whole for one terrible episode, especially when Louie has been written pretty badly for the bulk of season 3, yet is still not a bad character. It’s unfair to paint the series as painting them soley as selfish jackasses when it didn’t at first and hopefully wont’ again when they presumibly show up for the finale’s big avengers endgame sequence I hope is coming. For now they aren’t bad and the colors are crisp and the animation nice and bouncy on our boys.

Since we have two plots here, I’m just going to go ahead and split em since honestly, the b plot dosen’t really impact the a-plot until really the last minute and is basically happening right along side it and in concert with it. Sooooo...

The Trite B-Plot: As you can probably gather I didn’t really like this one. It’s basically 5-7 minutes of me wanting to punch a child in the face. Or rather Webby wanting to have fun experinces and actually take in the culture while in town, while Dewey just wants to take pictures of everything, make it seem like he did stuff, and generally is obnoxious to webby while Louie supports him wholeheartdly. That last part is really one of the few good parts of the plot as it’s nice for one of the brothers plots to NOT be about them being in conflict or squabbling but just hanging out and having some fun, doubly so since i’ve had to spend a season watching Louie , outside of a few good exceptions be an absolute dick to Huey and also Dewey once. It’s nice to just see him and Dewey bond over a shared intrest: posting shit online and getting good photos.

And it’s not without GOOD gags: Dewey’s obnoxious captions at one point while Webby continually looses her shit, Louie continually saying “that’s so wise” at Dewey’s bullshit philosphies, Webby’s continued annoyance is delivered great by Kate as always, and the best bit is Webby, utterly pissed at Dewey for refusing to eat Local Cuisine, wolfing down the entire fucking plate, all the dumplings in her mouth at once while Dewey, naturally, takes a picture. Otherwise this is just.. grating. It’s utterly grating to watch Webby GENUINELY try hard to absorb the local culture and really enjoy a once in a life time experince.. while Dewey jackasses about and basically acts like she’s wrong for it and treats his best friend like garbage. Just because i’ts nice it’s not Louie this time doesen’t make one of the kids being a dick without any nuance or character stuff suddenly great. It’s just tiresome.

And SOMEHOW , despite already not liking it the first time watching the episode.. it’s even WORSE now afterlast years. No not because I watched it while having to put up with Coronoavirus induced Chills, but because another show did this plot 100 times better: Close Enough. One of the best new shows of the year, Close Enough had a plot where exes Bridget and Alex, aka yet aother great set of Kimiko Glenn and Jason Mantzokus characters, went on vacation together, but their attempts to have some ex sex fell flat due to longstanding issues we found about through this plot: Bridget has a bad habit of doing what Dewey did, focusing way more on her social than actually enjoying her vacatoin while Alex has a bad habit of befreinding random weirdos who agree with his worldview. Keep in mind this is the same worldview that spent an afternoon connecting garfield to jesus while pissing in a jug for some reason. Point instead of a character just being a smug dick, it ties into actual character flaws that helped us not only learn more about them but lead to a really heartwarming scene where the two admit they jsut can’t sleep together casually with allt heir baggage, and that they still have a lot to sort out. Before given the show their on having their friends show up from the a plot and all of them getting kidnapped by a robot because Josh skipped a bunch of ads and a 5 year old has to solve some issues and prove she’s not dumb to blow up said robot. What i’m saying is it’s even more insufferable watching this after seeing it done a thousand times better, and fucking watch Close Enough. Thankfully unlike Inifnity Train it’s not reliant on you to get a second season as it’s been renewed proving that even in a cluster fuck like 2020 miracles can happen, but it’d still be nice for it to get more fans during the presumably long wait for Season 2. Let’s move past this, i’ll get to the plot relevant bit for the climax when we get to the climax, and onto the reason your all here.

The Main Event: A Life Not Wasted

Okay onto the actual plot. Rewinding quite a bit, the boys meet our boys, and we get some good bits. The boys cool new handshake leaves Huey wanting one only for Louie to simply lick his hand. See this is Louie dickery I can get behind because what did Huey expect? I do take comfort in the fact he has actual friends now who will likely do a handshake, fenton very much included. I’m sure Gyro didn’t want one either so he’s had plenty of time to workshop. We also find out one of the boys was dropped as an egg and well.. given Dewey opens and closes his eyes one at a time for this one moment, the ohter triplets just sorta.. silently agre it’s Dewey. IT does explain why he thought Champ Popular would get over..that and Santa Claus is Going to Highschool being his favorite movie.

So both Jose and Panchito claim to be sucessful: Jose being a sucessful jetsetter and trendsetter, and Panchito being a world famous pop star, never stop stopping. So Donald being donald panics and runs into a alley where Scrooge and Huey join him. Donald is fully convinced he’s wasted his life and has nothing to show for it. Huey rightfully points out he raised three wonderful children and isn’t that enough? Naturally given Donald clearly has some issues related to this subject and Scrooge has develoved into old man yells at cloud, he agrees it’s not important as money. So Huey decides to help his uncle because he’s the good son.. and because the two are easily the most alike out of Donald and his Kids. It’s something I haven’t really been able to bring up before so I was delighted to realize i could now: Besides the obvious people bring up constnatly, I.e. Huey having inhereted the most of the family rage out of his brothers, there’s the fact both are kind of obessive, both tend ot spiral into panic when a situation goes wrong, both are awkward with women, both are frequently ignored or taken for granted by those around them, and both are awkward adorable dorks who I will give my life to protect. It’s why I think Huey has the best relationship with his uncle of the bunch: He’s the only one who at least TRIES to empahtize with him and support him. While the other two do love him, and Webby of course likely has an insanne and horrifying shrine of him, and scrooge and probably della now in her closet.. and of course lena but that’s less out of hero worship and more out of her insane, over the top, very webby version of love. Point is, he’s the one who genuinely sees his uncle as a person who needs help and love. This was best demonstrated in the scene at the bank back in “Who Is Gizmoduck” as Huey tries to get his uncle a loan using the guidebook and is there soley to help the guy and taking time out of his day to visit the bank. Let’s face it though this is huey: he probably loves visiting the bank. They just got new pens! So Huey decides to put his improv badge to good use... so far the only use he’s gotten is Louie laughing at the fact he actually earned an improv badge and urges donald to simply ACT like he’s sucessful. Scrooge balks at this, because as Wonder Woman 1984 taught us nothing good comes from lies.. or from banging your ghost boyfriend while he’s possessing someone’s body without said body’s consent and plan to fully live out the rest of your lives togehter without ever considering how fucked up this is. I will..deal with that movie ... soon. But he soon changes his turn and agrees to go along with it to avoid Jose getting upset and them having to pay for everything.

So Huey suggest Donald keep the lie small, but belivable. Given the law of sitcoms when it comes to anyone saying that and the fact this is Donald, he instead panics and lies that he’s taken over McDuck industries and scrooge has gone full abe simpson in the other direction.

Which is why i’m not enitrely annoyed by Scrooge’s presence: while they don’t even handwave him being here, Scrooge putting on an old man act, and sometimes getting back at donald for it is solid gold the whole damn time and some of David Tennat’s best comedic acting on the show, so it makes up for him being a grumpus. And while i’m not usually not a fan of liar revealed plots, this one works for me.. mostly because it’s rooted in character. Here Donald is lying.. but because of deep seated neurosis he’s yet to fully tackle. While he loves his boys and is proud of htem every day... it’s very clear Donald hates his life and how it turned out. We got bits of this back in House of the Lucky Gander, with Donald’s first thought upon thinking he’s about to die is “I wasted my life” and feeling entirely like a looser. This episode brillinatly builds on that: it shows a Donald who simply feels.. he acomplished nothing. It’s easy to see why as his parents were happy and sucessful at whatever they did from the looks of it and how well taken care of the kids were, his uncle is the richest duck in the world and it’s greatest hero and explorer, his sister is the only one who could rival that record, and his cousin constnatly gets riches and fame handed to him. Donald.. by comparison.. is just a normal guy whose house is in his rich uncle’s pool, who has no job, no partner, and only really the love of his family. He spent his life on adventures he didn’t want to have living int he shadow of someone he grew to resent before the Spear of Selene incident blew things up for a decade. And then when he was free instead of becoming a big sucess... he blew the rest of it being overprotective of his boys and bouncing from dead end job to dead end job. It’s easy to see why he sees himself as a failure despite having lived a good life: compared to everyone else, even his sister who mooned herself, in his life.. he feelsd far behind. And as someone whose felt they were far behind countless times and only now is realizing they haven’t and it’s a marathoon ot a sprint I naturally relate. So his wanting to play big shot for just ONE day, to be the big hero like scrooge, teo be a sucess for five minutes with his best friends.. it’s understandable and relatable.

So Donald continues the ruse, leading to a great bit where the cabs all try to avoid picking up the check “WE can’t all keep whistling nonchalantly” before Scrooge is forced to give Donald the money to in the best joke of the episode.. and I mean FORCED. He and donald get into a fight with their hands under the table and Huey eventually gets fed up with that and has to BITE his uncle’s hand just to get him to do what he shoudl’ve done ruse or no given he’s the richest person there. The reason I take special offense to this.. is that my fairly wealthy grandpa and grandma, my mom’s dad and his wife for the record, would buy us dinner EVERY TIME they were near town, a nice steak dinner with whatever we wanted to most of the time. They knew we couldn’t afford such luxury half the time and wanted to treat us and spend time with us. Since my grandpa’s passing, my Grandma and her New Husband have continued the tradition since then, if obviously not this year for damn obvious reasons, thought hey sent us a really nice dinner to cook for christmas in the same spirit. What i’m saying is when you know your relatives arne’t as stacked as you , you pay for the fucking meal especially since i’ts a special occasion, and even for someone as stingy as scrooge, it comes off as a dick move.

We then get the best scene with the episode, just inching out the climax as the three simply talk, remince on old times, have a good rib like old friends would. It feels natural and wonderful to watch and gets even better when the three hear the radio and end up having an impromptu dance and musical number. Also Jose’s umbrella is also a flute somehow.

Point is the boys have a good time and Donald gets carried away, with the boys planning a world tour. Huey, while happy to endulge his uncle in a badly needded ego boost, isn’t happy to endulge this and scrooge is unwilling ot pay, more resonably this time. Huey eventually talks him out of being a moron and tells him he has to tell the honest truth and while that dosen’t work this does.

So as Donald goes to face the music, we have come to our climax. Phrasing.

The Finale: Ay Carumba

So we come to our finale. Backing up a scene or too to the B-Plot, webby is interviewing a local about the festival when she gets stuck in a loop. So far in the episode we’ve had hints something is up with the people as they go all yellow eyed.. and webby finds out why as she notices the “person” she was interviewing is, in a hilarious and disturbing review.. a horrignly realistic hand puppet.. and upon stealing Louie’s phone, she points out there’s no shots of anyone’s feet.. and the reason why is that the giant flower the feast is about is a mean green mother from outer space and he’s bad. And Webby finding that out’s got him fighting mad. Webby and the boys naturally run to warn the remaning boy and scrooge and they all run out only to get blocked out of town and captured. Dewey looses his phone inside the plant monster.

In a great joke, Scrooge ended up actually throwing his back out with the old man act, so our heroes are all captured and it’s up to our stars to save the day. So while his family is in peril, Donald finally comes clean with Jose and Panchito naturally being upset.. for a second before Jose admits he lied to and an irate panchito.. is forced to admit he also lied. Jose is a flight attendant, hopefully he’ll get his own mini series where he accidently murders a dude on disney plus, which is a nice update of his globe trotting ways, as it’s a resonable way for someone with no money to get around the world these days and Panchito is a birthday party muscian. They all however chuckle over this realizing they haven’t come as far as they thought.. and they still have each other. It’s a nice way of modernizing Rosa’s jobs for them and their hard luck lives he set up and I love this. IJt’s just a sweet emotoinal scene that makes donald, and his friends, realize they aren’t faliures and life isn’t just about reaching some arbitrarity goal.. just like Soul taught me aka the actually great movie I watched on Christmas Day. But since Donald’s family is in peril Jose suggests theys till play the gig.. just like they did ion acapulco thus we get the second best scene of the episode and another worthy rendition of The Three Caballeros as our heroes beat the shit out of the plant, free the kids and the plant straighens out scrooges back.

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It’s beautiful, psycadelic, and utterly awesome. Seroiusly the bright boldend colors are awesome and so’s this sequence. Easily one of the show’s best.. and it’s a show that contiains the greatest scene in television history

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So that masterclass concludes with Donald signing.. badly.. and blowing the plant hte fuck up. Our heroes win and head off in the sunchaser. No idea what Launchpad is up to, probably has another ex in the area. Point is our heroes win, Dewey deletes his photos because “If there was no pics it didn’t happen” (So wise) and Donald decides to get the band back together, prompting scrooge to do an animal house on Panchito’s guitar... you.. you know you have to pay for that right? you aren’t a loveable frat man and he wasn’t ‘singing and I gave my love a cherry. Your obligated to get him a new guitar. You know that right?

So with that the episode wraps. This is a pretty good episode. While the subplot is bad and it should feel bad the main plot is emotional, well done and really adds more depth to Donald’s character while giving us a hell of a show with the cabs. The College Band background gives the boys a unique flavor this time around, not musically but in how they know each other and helps set it apart from the countless other reunions. It’s a truly bright, colorful and fun episode with some great gags and great performances. As I said Puerto and Paulo really knock it out of the park as the boys and while I would’ve preferred Jamie Camil, Paulo was still utterly excellent, though Puerto was the clear standout of the two. While their second apparence would be disapointing characterization wise, overall this was a fun introduction to two of disney’s best into it’s best universe and one of Season 2′s Standouts.

Next Time on the Ride of the Three Cablleros: we begin our massive finale look at The Legend of the Three Cablleros. Donald gets dumped by a nightmare of a person and finds an inhertance, new friends, and some sort of hot adventure god in his new cabana. Good times. Until then goodbye, goodbye, goodbye.

#ducktales #donald duck #panchito romero miguel junipero francisco quintero gonzalez #panchito pistoles #Jose Carioca #webby vanderquack #scrooge mcduck #dewey duck #huey duck #louie duck #Abe Simpson #the town where everyone was nice #The Three Caballeros

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joeyclaire · 3 years

Note

Who is he.

Ben Bernanke

14th Chair of Federal Reserve

Ben Shalom Bernanke (/bərˈnæŋki/ bər-NANG-kee; born December 13, 1953) is an American economist at the Brookings Institution who served two terms as the 14th Chair of the Federal Reserve, from 2006 to 2014. During his tenure as chair, Bernanke oversaw the Federal Reserve's response to the late-2000s financial crisis, for which he was named the 2009 Time Person of the Year. Before becoming Federal Reserve chair, Bernanke was a tenured professor at Princeton University and chaired the department of economics there from 1996 to September 2002, when he went on public service leave.

Quick Facts 14th Chair of the Federal Reserve, President ...

From August 5, 2002, until June 21, 2005, he was a member of the Board of Governors of the Federal Reserve System, proposed the Bernanke Doctrine, and first discussed "the Great Moderation" — the theory that traditional business cycles have declined in volatility in recent decades through structural changes that have occurred in the international economy, particularly increases in the economic stability of developing nations, diminishing the influence of macroeconomic (monetary and fiscal) policy.

Bernanke then served as chairman of President George W. Bush's Council of Economic Advisers before President Bush nominated him to succeed Alan Greenspan as chairman of the United States Federal Reserve. His first term began February 1, 2006. Bernanke was confirmed for a second term as chairman on January 28, 2010, after being renominated by President Barack Obama, who later referred to him as "the epitome of calm." His second term ended January 31, 2014, when he was succeeded by Janet Yellen on February 3, 2014.

Bernanke wrote about his time as chairman of the Federal Reserve in his 2015 book, The Courage to Act, in which he revealed that the world's economy came close to collapse in 2007 and 2008. Bernanke asserts that it was only the novel efforts of the Fed (cooperating with other agencies and agencies of foreign governments) that prevented an economic catastrophe greater than the Great Depression.

Family and childhood

Bernanke was born in Augusta, Georgia, and was raised on East Jefferson Street in Dillon, South Carolina. His father Philip was a pharmacist and part-time theater manager. His mother Edna was an elementary school teacher. Bernanke has two younger siblings. His brother, Seth, is a lawyer in Charlotte, North Carolina. His sister, Sharon, is a longtime administrator at Berklee College of Music in Boston.

The Bernankes were one of the few Jewish families in Dillon and attended Ohav Shalom, a local synagogue; Bernanke learned Hebrew as a child from his maternal grandfather, Harold Friedman, a professional hazzan (service leader), shochet, and Hebrew teacher. Bernanke's father and uncle owned and managed a drugstore they purchased from Bernanke's paternal grandfather, Jonas Bernanke.

Jonas Bernanke was born in Boryslav, Austria-Hungary (today part of Ukraine), on January 23, 1891. He immigrated to the United States from Przemyśl, Poland, and arrived at Ellis Island, aged 30, on June 30, 1921, with his wife Pauline, aged 25. On the ship's manifest, Jonas's occupation is listed as "clerk" and Pauline's as "doctor med".

The family moved to Dillon from New York in the 1940s. Bernanke's mother gave up her job as a schoolteacher when her son was born and worked at the family drugstore. Ben Bernanke also worked there sometimes.

Young adult

As a teenager, Bernanke worked construction on a hospital and waited tables at a restaurant at nearby South of the Border, a roadside attraction, amusement park and fireworks retailer, in his hometown of Dillon, before leaving for college. To support himself throughout college, he continued to work during the summers at South of the Border.

Religion

As a teenager in the 1960s, Bernanke would help roll the Torah scrolls in his local synagogue. Although he keeps his beliefs private, his friend Mark Gertler, chairman of New York University's economics department, says they are "embedded in who he (Bernanke) is." Once Bernanke was at Harvard for his freshman year, Fellow Dillon native Kenneth Manning took him to Brookline for Rosh Hashanah services.

Education

Bernanke was educated at East Elementary, J.V. Martin Junior High, and Dillon High School, where he was class valedictorian and played saxophone in the marching band. Since Dillon High School did not offer calculus at the time, Bernanke taught it to himself. Bernanke scored 1590 out of 1600 on the SAT and was a National Merit Scholar. He also was a contestant in the 1965 National Spelling Bee.

Bernanke attended Harvard College in 1971, where he lived in Winthrop House, as did the future CEO of Goldman Sachs, Lloyd Blankfein, and graduated Phi Beta Kappa with an A.B. degree, and later with an A.M. in economics summa cum laude in 1975. He received a Ph.D. degree in economics from the Massachusetts Institute of Technology in 1979 after completing and defending his dissertation, Long-Term Commitments, Dynamic Optimization, and the Business Cycle. Bernanke's thesis adviser was the future governor of the Bank of Israel, Stanley Fischer, and his readers included Irwin S. Bernstein, Rüdiger Dornbusch, Robert Solow, and Peter Diamond of MIT and Dale Jorgenson of Harvard.

Personal life

Ben and Anna Bernanke

Bernanke met his wife, Anna, a schoolteacher, on a blind date. She was a student at Wellesley College, and he was in graduate school at MIT.[citation needed] The Bernankes have two children, Joel and Alyssa. He is an ardent fan of the Washington Nationals baseball team, and frequently attends games at Nationals Park.

When Bernanke left Stanford to accept a position at Princeton, he and his family moved to Montgomery Township, New Jersey, in 1985, where Bernanke's children attended the local public schools. Bernanke served for six years as a member of the board of education of the Montgomery Township School District.

In 2009, The Wall Street Journal reported that Bernanke was a victim of identity theft, a spreading crime the Federal Reserve has for years issued warnings about.

Academic and government career (1979–2006)

Bernanke meeting with United States President Barack Obama.

Bernanke taught at the Stanford Graduate School of Business from 1979 until 1985, was a visiting professor at New York University and went on to become a tenured professor at Princeton University in the Department of Economics. He chaired that department from 1996 until September 2002, when he went on public service leave. He resigned his position at Princeton July 1, 2005.

Bernanke served as a member of the Board of Governors of the Federal Reserve System from 2002 to 2005. In one of his first speeches as a Governor, entitled "Deflation: Making Sure It Doesn't Happen Here", he outlined what has been referred to as the Bernanke Doctrine.

As a member of the board of governors of the Federal Reserve System on February 20, 2004, Bernanke gave a speech in which he postulated that we are in a new era called the Great Moderation, where modern macroeconomic policy has decreased the volatility of the business cycle to the point that it should no longer be a central issue in economics.

In June 2005, Bernanke was named chairman of President George W. Bush's Council of Economic Advisers, and resigned as Fed Governor. The appointment was largely viewed as a test run to ascertain if Bernanke could be Bush's pick to succeed Greenspan as Fed chairman the next year. He held the post until January 2006.

Chairman of the United States Federal Reserve

Bernanke testifying before the House Financial Services Committee responding to a question on February 10, 2009.

On February 1, 2006, Bernanke began a fourteen-year term as a member of the Federal Reserve Board of Governors and a four-year term as chairman (after having been nominated by President Bush in late 2005). By virtue of the chairmanship, he sat on the Financial Stability Oversight Board that oversees the Troubled Asset Relief Program. He also served as chairman of the Federal Open Market Committee, the System's principal monetary policy making body.

His first months as chairman of the Federal Reserve System were marked by difficulties communicating with the media. An advocate of more transparent Fed policy and clearer statements than Greenspan had made, he had to back away from his initial idea of stating clearer inflation goals as such statements tended to affect the stock market. Maria Bartiromo disclosed on CNBC comments from their private conversation at the White House Correspondents' Association Dinner. She reported that Bernanke said investors had misinterpreted his comments as indicating that he was "dovish" on inflation. He was sharply criticized for making public statements about Fed direction, which he said was a "lapse in judgment."

Financial crisis of 2007–2008

Bernanke (left) in September 2008 as President Bush speaks about the economy

Further information: Financial crisis of 2007–08

As the Great Recession deepened, Bernanke oversaw some unorthodox measures. Under his guidance, the Fed lowered its funds interest rate from 5.25% to 0.0% within less than a year. When this was considered insufficient to abate the liquidity crisis, the Fed initiated quantitative easing, creating $1.3 trillion from November 2008 to June 2010 and using the created money to buy financial assets from banks and from the government.

Second term

Bernanke answers questions in 2013 at FOMC press conference

On August 25, 2009, President Obama announced he would nominate Bernanke to a second term as chairman of the Federal Reserve. In a short statement on Martha's Vineyard, with Bernanke standing at his side, Obama said Bernanke's background, temperament, courage and creativity helped to prevent another Great Depression in 2008.

#asks #ember360 #long post

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jadelotusflower · 3 years

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June 2021 Roundup

It's been a month of highs and lows. Every year my city holds a cabaret festival, and I've seen some truly amazing acts over the years - including Lea Salonga, Kristin Chenoweth, and Indina Menzel. This year's Artistic Director was the great Alan Cumming, and although due to covid he didn't quite get to curate the program he wanted to, the opening night Gala was still a highlight, as was Alan's DJ set at the pop-up Club Cumming afterwards, where there was much singing at the top of my lungs and dancing to pop anthems and theatre tunes. At one point Alan, dressed in a onesie and perched on the shoulders of a man wearing only sparkly short shorts, was carried around the dance floor while Circle of Life blared. Reader, I was delighted.

I was also able to see his solo show Alan Cumming Is Not Acting His Age, which was hilarious and damn, he can sing!

As for the low, I was meant to fly to Sydney for the weekend to see Hamilton, a trip I have been looking forward to for almost a year, but had to be cancelled because of a covid outbreak and border closures. The tickets have been rescheduled, but I'm still kind of bummed about it (while completely appreciating the need for covid safety, especially when our vaccine rollout has been completely botched by our incompetent, corrupt federal government)

Anyway.

Reading

The Hundred and One Dalmations (Dodie Smith) - With all the bewilderment over Disney's Cruella, I decided to revisit the original novel which I first read as a kid. It's funny, I had very vivid memories of this book, or rather thought I did, particularly the scene where Roger and Anita have dinner at Cruella's house that fixed in my young mind as utterly disturbing with all this devil imagery and the implication Cruella was literally some kind of demon, which must have been either a) my overactive imagination or b) an illustration, because it's not as clear as I thought it was. The strangeness is there (food with too much pepper, Cruella's inability to keep warm, the walls painted blood red) but not the explicit demon imagery I had remembered. There is a part later in the book recounting the history of Hell Hall and the rumors of Cruella's ancestor streaking out of the place conjuring blue lightening, but clearly child me was reading far more into the book than was on the page.

But I still wish they'd gone with this version of Cruella's backstory, because to me an aristocratic, ink-drinking, heat-obsessed, possibly-demon spawn, high camp villain is more interesting and rings far more true than plucky punk against the establishment.

Smith clearly had Facts About Dalmations to share, and she does really craft a wonderful animal-based story that the Disney animated film is largely faithful to. Key differences include: Roger's occupation (he doesn't have to pay tax because he wiped out government debt somehow?!?), Pongo's mate and the puppy's mother is called Missis, Perdita is another dalmation who acts as a kind of doggie wet nurse, Roger and Anita both have Nannies who come to live with them (Nanny Butler and Nanny Cook), Cruella is married to a furrier (who changed his last name to de Vil). Also odd, on her first description Cruella is described as having "dark skin" but later in the novel her "white face" is mentioned, so I'm chalking it up to 50's descriptors not having the same meanings they do today.

The Duke and I (Julia Quinn) - After being just whelmed by the tv series, I wasn't really planning on reading the books, but I saw this on the top picks shelf at the library and damn, the top picks shelf is irresistible. This is very much Daphne's book (and I had known each in the series dealt with the different sibling) so many of the characters and much of the plot of the show is absent, as are some of the more baffling elements of the show like the Diamond of the First Water nonsense, which I always thought was a strange character choice in that it stacks the deck for Daphne when her character arc is better served as somewhat of an underdog (in her third season, the kind of girl who is liked but not adored), and the Prince subplot which was always far too OTT even for soapy regency romance.

It's a breezy, fun read (that scene excepted), even if the misunderstandings are contrived and I'm never going to take "I'll never have kids because I hate my dad" as a credible romantic obstacle deserving of so much angst.

Faeries (Brian Froud and Alan Lee) - A lovingly detailed and illustrated compendium of Faerie and its inhabitants, drawing from a range of European (but primarily Celtic) folklore and mythology. Froud was a conceptual designer on The Dark Crystal and Labyrinth, and the link is clear in the art as well as the focus on faeries as mysterious but oftimes sinister beings, where human encounters with them rarely end well. Lee has illustrated several publications of Tolkien's novels, and was a lead concept artists for Peter Jackson's Lord of the Rings and Hobbit trilogies, and there is a touch of Middle Earth here as well, or rather the common inspiration of the old world. A useful resource for my novel!

Watching

The Handmaid's Tale (season 4, episodes 4-8) SPOILERS - So when I last wrote about this show in the Roundup, I was complaining it wasn't going anywhere. Well, I'm happy to be wrong because they finally changed things up with June finally escaping to Canada. That part of the plot following the survivors and their trauma has always been far more compelling than Gilead, and so it was a welcome development even if I side-eye some of the choices (none of these characters is seeing an actual licensed therapist why?).

This show has always been difficult to watch given the subject matter, and that has not changed after the shift in power dynamics. I will give the show credit for showing a broad range of trauma responses, from Moira wanting to move on and not let it consume her, to June, a ball of rage and revenge on a downward spiral, to Emily, trying to follow Moira's path but being drawn to June's, to Luke, trying his best but utterly unequipped to deal with what is happening.

But it is very hard to watch June go down this path - raping her husband (I concede the show perhaps didn't intend for it to be rape, but that's what is on screen and framing it as just "taking away Luke's agency" doesn't change that), wishing death on Serena's unborn child, and orchestrating Fred's brutal murder by particulation, then holding her own daughter still covered in his blood and it getting smeared on Nicole's face (an unsubtle metaphor in a series full of unsubtle metaphors).

There are interesting questions being asked of the viewer, and the show (perhaps rightly) not giving any answers. I can certainly appreciate the catharsis of Fred getting what he deserves even if I personally find the manner of it horrifying, but where is the line between justice and revenge, is revenge the only option when justice is denied, when does a trauma release become cyclical violence/abuse - the show is, for now, letting the viewer decide.

Soul (dir. Pete Docter and Kemp Powers) - In a world full of remakes/reboots/sequels, Pixar is perhaps the lone segment under the Disney umbrella committed to original content. However, there does seem to be a Pixar formula at work directed to precision tugging the heart strings, and some of the film feels like well-trod ground. On the other hand, it's hard to criticise the risk of centering a kids film around the existential crisis of a middle aged man, even with the requisite cutesy elements (and of course, the uncomfortable pattern of yet another film where the black lead character spends a great deal of the runtime in non-human form - herein, an amorphous blob or a cat). But the animation is stunning, it successfully did tug my heart strings, and the design of the Great Before and the Jerrys is original and fun.

RuPaul's Drag Race Down Under - Drag Race is somewhat of a guilty pleasure for me, since I generally don't watch reality shows, and this is something I really enjoy even if I'm not invested in the fandom (which like many fandoms can be very yikes). This year it was time for the Australian/New Zealand (Aotearoa) queens to show their stuff, although it's been met with mixed reactions. Covid restrictions didn't allow for guest judges, relegating them to mere cameos via video calls, and its clear that Ru and Michelle really don't quite get all the cultural nuances - Aussie judge Rhys Nicholson was however always delightful. But it wouldn't be Australia without a racism scandal, with the great disappointment of the two queens of colour eliminated first, and one queen having done blackface in the recent past yet making it all the way to the top four.

In the end, the only viable and deserving winner was last Kiwi standing Kita Mean, and it was pure joy to see her get crowned. I do hope they fix the bugs and indeed do another season to better showcase AU/NZ talent.

Writing

A far more productive month - to try and get out of my writing funk I had a goal to try and write every day, even if it was only 100 words. While I didn't quite achieve a consecutive month, I did get a pretty good average, at least got something posted and two others nearly there.

The Lady of the Lake - 2441 words, Chapter 4 posted.

Against the Dying of the Light - 2745 words

Turn Your Face to the Sun - 1752 words.

Here I Go Again - 1144 words

Total words this month: 8082

Total words this year: 35,551

#personal #long post #roundup #june roundup #reading watching writing #here's to the second half of the year #I really want to get to at least 100k written #so we'll see

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aengusnatureking · 4 years

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NEW YORK - Raúl Esparza learned to sing when he was a little boy in Miami, sitting on his grandmother's lap as she taught him all the old songs from Cuba. Now he's all grown up, starring in Cabaret and holding the theater world in the palm of his hand. Who could have known, all those years ago, that the music of a homeland he has never seen would stoke the creative fire that has taken him all the way to Broadway stardom? 'It feels incredibly fast,' says Esparza, 31, whose performance as the Emcee in Cabaret has put its own dark spin on a role made famous by Joel Grey and Alan Cumming. 'I haven't been [in New York] very long, so it's a blessing. But there's also a kind of numbness. I keep waiting for the other shoe to drop. Good things happen, and I go, `That's nice.' ' Among those good things: his rousing turn as Riff Raff in the wild Broadway revival of The Rocky Horror Show; the lead in the Off-Broadway production of Jonathan Larson's Tick, Tick...Boom!; doing Cabaret opposite Brooke Shields, then Gina Gershon, and now Molly Ringwald; and cocktails with Stephen Sondheim to discuss his starring role in Sondheim's Sunday at the Park With George this summer at the Kennedy Center. Numb? Maybe. But Esparza is also aware of how fortunate he is. 'Every day on the way to the theater, I walk through Shubert Alley [near Times Square] to remind myself of where I am,' he says. ``Some people work their whole lives and don't make it to Broadway.' Esparza has, mainly through years of hard work honing a talent that has now won him a place at the center of America's theater universe. And those who know about such things are sure he's the real deal. 'Once or twice a year, Broadway [gets] a new home-grown star, who for their fame is not depending on television or film, but on the theater,' says Sam Mendes, director of Cabaret and the film American Beauty. ``Raúl is the genuine article, and his performance as the Emcee gives full vent to a talent we will see a lot more of in the future.' Todd Haimes of New York's Roundabout Theatre Company, who cast Esparza as a replacement Emcee in Cabaret, is even more effusive. 'I think Raúl is one of the most extraordinary young talents I've ever seen,' he says. ``He's got a great voice, and he's a great actor. It's hard to define star quality, but you know it when you see it. Raúl is going to be a big star.' A LONG ROAD But like any 'overnight' success, he's been working toward this moment for years. Esparza's talent first surfaced at Miami's Belén Jesuit Preparatory School, where he staged play after play -- in English and Spanish -- and funneled the profits to charity. He made his professional debut 13 years ago, just out of high school, in the world premiere of Luis Santeiro's Mixed Blessings at Miami's Coconut Grove Playhouse. The only child of Cuban exiles, Esparza was born in Wilmington, Del., where his mother María Elena met his father Raúl on a blind date. His mother, now a Miami travel agent, concedes her son got lots of attention but says it didn't ruin him. 'When you have an only child, you devote yourself to that child to the extent that it makes you ache,' she says. ``He was very pampered, but he has given us back the same love. Because he has been brought up with love and not a lot of grief, he's always had a tender nature. There's not a mean streak in him.' Beatriz Jiménez, his Spanish teacher and mentor at Belén, remembers Esparza's creativity and drive. 'I met Raúl when he was in the seventh grade, about 12 years old, and even at that age, you already knew,' Jiménez says. ``I've taught for 30 years, and he is the most outstanding person and student I've met. He emanates an energy, a love of learning. He can direct, write, sing, act. He's wonderfully fluent in both Spanish and English, and he has a tremendous understanding of both cultures. We didn't have a performing arts program at Belén, but he helped create one.' Esparza founded a club called ALPHA -- the letters signify acting, literature, photography, history and art -- and under its auspices did numerous plays. His leadership won him the 1988 Silver Knight Award in drama, and he and a fellow student took national honors in the Catholic Forensic League competition for their scene from the play Amadeus. He didn't do as well with the National Foundation for Advancement in the Arts competition, where one judge suggested he didn't have a future as an actor. 'When Raúl told me he'd decided to go into acting, I told him it was a tough road,' Jiménez recalls. ``How do you know how to keep going or when to quit? You have to listen to yourself.' Esparza did that, beginning at Florida International University, then earning his degree from New York University's Tisch School of the Arts in 1991. From there he moved to Chicago, where he built a reputation at the city's top-tier theaters, acting in such high-visibility productions as Slaughterhouse-Five at Steppenwolf and Cry, the Beloved Country at the Goodman. Things were going so well, in fact, Esparza and his wife Michele, his high school sweetheart, imagined building a life in Chicago -- despite the fact that Esparza found his ethnicity perceived differently there. 'As soon as I left Miami, I realized what being in a Hispanic minority is,' he says. ``In Miami, being Cuban is the center of your power. The parts that movie and TV people want to see me for are Latin things. Then I get there and they don't think I'm Latin enough.' Yet it was a major Hispanic role in theater that eventually led him to move to New York -- and to Broadway. He won the role of Che Guevara in a major touring revival of Evita, and though his decision to play the revolutionary didn't thrill his exile family (his paternal grandfather had known Guevara in Cuba), the raves he won as he traveled the country in 1998-99 did. The show didn't play South Florida, so his family and his former teacher traveled to the Fox Theatre in Atlanta to see him. 'That was a difficult role for him, especially coming from a Cuban exile background,' Jiménez says. ``He did so much research, and he created a very three-dimensional Che. He was conniving, fiery, passionate, intense, very dark.' And convincing. Says Esparza's mother María Elena: 'We took my mother-in-law and father-in-law to Atlanta to see him. My mother-in-law said, `I want Che out of there. I want my grandson back.' ' `STAR PERSONALITY' Harold Prince, the original director of Evita, saw Esparza's portrayal at a run-through and a performance and agrees that he's destined for big things. 'He has real star quality and huge energy. He's smart and quick and funny,' observes Prince. ``Then I saw him in Tick, Tick...Boom! and didn't realize at first he was the same boy. He's got star personality.' Che led Esparza to an audition for Rocky Horror, which got him the Riff Raff role and put him on New York's fast track. He left that show to create the part of Jonathan in Tick, Tick ...Boom!, and his next show was to have been a major Roundabout revival of Sondheim's 1991 musical Assassins. Then came Sept. 11. 'I had a feeling similar to the one I had after Hurricane Andrew, when just seeing Bryan Norcross on TV would make me break into tears,' Esparza recalls. ``I didn't want to do the show. I could smell the burning. It felt pointless. ``The stage manager and I worked every day volunteering. But I met people from all walks of life who said Tick, Tick ... Boom! -- which is about continuing after you realize it's not going to be easy, and that what you choose to be in life is up to you -- had inspired them.' After the disaster, Assassins (which contains lyrics about a character wanting to fly a plane into the White House) was scrubbed. So the Roundabout's Haimes shuttled Esparza into Cabaret, where he has become the show's most dynamic Emcee since the Tony-winning Cumming, giving a performance that is one part Marlene Dietrich, another part unhinged victim of evil. He'll leave Cabaret at the end of April and go into rehearsals for Sunday in the Park With George, part of the Kennedy Center's $10 million, six-show, summer-long Sondheim Celebration (he's also cast in the festival's production of Merrily We Roll Along). Eric Schaeffer, artistic director of the festival, cast Esparza in Sunday in the Park in the dual roles of artist Georges Seurat and a contemporary artist named George, roles originated on Broadway in 1984 by Mandy Patinkin. It's a huge part, but one Schaeffer says he knew right away that Esparza could handle. 'Georges has to have an intensity, but deep within he has a troubled soul,' Schaeffer says. ``Raúl sang Finishing the Hat, and he got the creative drive of the artist and the sadness within it. The contemporary George is the trickiest, and once again he captured the spirit, the frustration, the soul-searching. 'It doesn't happen that often in an audition that you say, `That's the person.' That you get chills by the end.' HEARTACHES Offstage, Esparza's life has been rougher since his move to New York. His wife decided to move back to Miami and her extended family rather than relocating to New York. Yet though they are separated, Esparza says, ``We speak every day. She's the light of my life. We grew up together. Lived side by side. We're going through a process of getting to know each other again. ``Every good and bad thing that happens, I want to share with her.' Another loss has been more permanent. While he was playing Riff Raff in Rocky Horror, his parents brought his maternal grandmother, America García-Pell, to see her grandson on Broadway. It was her 93rd birthday, Dec. 22, 2000. A few days later, the extended family gathered in Wilmington, Esparza's birthplace, to celebrate Christmas. 'I fell asleep on her lap, as she was stroking my head,' Esparza says. 'When I woke up, she said, `You haven't done that since you were a child. I could die tomorrow a happy woman.' ' The next day, García-Pell had a stroke. She passed away Jan. 18, but Esparza spent many of those last days by her side, leaning in close to her ear, softly singing her favorite Cuban songs. And now every time he steps onstage, a part of her is with him. 'After my grandfather died, she would put drops of his Guerlain cologne in a handkerchief and carry it with her,' Esparza says. ``Now I wear it onstage in Cabaret.'

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datshitrandom · 1 month

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Darren Criss attends "Alan Cumming Is Not Acting His Age" closing night | March 25, 2024 | 📸 by John Nacion & Anthony Behar

Tomorrowland Tricot Tie Dye Chunky Knit Cotton Sweater | ♡, ♡ Scotch & Soda Long Shawl Collar Cardigan in Boucle Knit | ♡

#darren criss #alan cumming is not acting his age #darren style/closet #menfashion #celeb fashion #celeb style #darren x tomorrowland #darren x scotch & soda

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d-criss-news · 1 month

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[HQ] Darren Criss and Cole Escola pose at the closing performance of "Alan Cumming is NOT Acting his Age!" on Broadway at Studio 54 on March 25, 2024 in New York City. (Photo by Jamie McCarthy/Getty Images, Bruce Glikas/WireImage, John Nacion/FilmMagic)

#darren criss #cole escola #alan cumming is not acting his age!#photos #march 2024

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clarasimone · 4 years

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Iain Glen nailing Hamlet (1991)

In 1991, after winning the Evening Standard Film Award for Best Actor, Iain Glen gave his soulful all, not on the stage in London, no, not yet, though really he could have, but at the Old Vic in Bristol, donning the persona of the Dane, Hamlet. He won the Special Commendation Ian Charleson Award* for his performance and yet it appears we will never see but stills from this production as no video recording was made, not even by and for the company. The University of Bristol has the archives of the production: the playbook, the programme and black and white stills. The V&A archives have the administrative papers. In our day and age, this sad evanescent corporeal sate of affairs is unimaginable. The memory of the play, of this performance fading away? We rebel against the very thought. We brandish our cell phones and swear we shall unearth and pirate its memory, somehow, somewhere. Even if we have to hypnotize patrons or pull out the very hearts of those who saw Iain Glen on stage, those few, those happy few, to read into their very memory and pulsating membrane just how brilliant he was. Because he was, he was. That’s what they’ll all tell you...

Below, those pics and testimonies....

*(The Charleson Awards were established in memory of Ian Charleson, who died at 40 from Aids while playing Hamlet at the National Theatre in 1989)

- Iain Glen is a rampaging prince, quixotic, technically sound, tense as a coiled spring, funny. ‘To be, or not to be’ results from throwing himself against the white walls, an air of trembling unpredictability is beautifully conveyed throughout. ‘Oh, what a rogue and peasants slave’ is blindingly powerful. My life is drawn in angrily modern post Gielgud Hamlets: David Warner, Nicol Williams, Visotsky, Jonathon Price. Iain Glen is equal to them. He keeps good company. THE OBSERVER, Michael Coveney

- Paul Unwin’s riveting production reminded me more strongly than any I have ever seen that the Danish Court is riddled with secrecy. Politics is a form of hide and seek: everyone stealthily watches everyone else. Iain Glen’s Hamlet is a melancholic in the clinical sense: his impeccable breeding and essential good nature keep in check what might be an approaching breakdown. His vitriolic humour acts as a safety valve for a nagging instability, his boyish charm is deployed to placate and deceive a hostile and watchful world. Glen brings out Hamlet’s fatal self absorption: the way he cannot help observing himself and putting a moral price tag on every action and failure. He is a doomed boy. And his chill but touching calm at the end is that of a man who has finally understood the secrets behind the closed doors. The Sunday Times, John Peter

- This is an excellent production of Hamlet from the Bristol Old Vic. The director Paul Unwin and his designer Bunnie Christie have set the play in turn of the century Europe. Elsinore is a palace of claustrophobically white walls and numerous doors. All this is handled with a light touch, without drawing attention away from the play. Our first encounter with Hamlet shows him bottled up with rage and grief. Glen gives a gripping performance. The self-dramatising side of the character is tapped to the full by this talented actor. The Spectator, Christopher Edwards

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The following though is my favorite review/article because it situates Iain Glen’s creation is time, in the spectrum of all renowned Hamlets.

How will Cumberbatch, TV’s Sherlock, solve the great mystery of Hamlet? by Michael Coveney - Aug 17, 2015

In 1987, three years before he died, the critic and venerable Shakespearean JC Trewin published a book of personal experience and reminiscence: Five and Eighty Hamlets. I’m thinking of supplying a second volume, under my own name, called Six and Fifty Hamlets, for that will be my total once Benedict Cumberbatch has opened at the Barbican.

There’s a JC and MC overlap of about 15 years: Trewin was a big fan of Derek Jacobi’s logical and graceful prince in 1977 and ended with less enthusiastic remarks about “the probing intelligence” of Michael Pennington in 1980 (both Jacobi and Pennington were 37 when they played the role; Cumberbatch is 39) and emotional pitch and distraction of Roger Rees in 1984 (post-Nickleby, Rees was 40, but an electric eel and ever-youthful).

I started as a reviewer in 1972 with three Hamlets on the trot: the outrageous Charles Marowitz collage, which treats Hamlet as a creep and Ophelia as a demented tart, and makes exemplary, equally unattractive polar opposites of Laertes and Fortinbras; a noble, stately Keith Michell (with a frantic Polonius by Ron Moody) at the Bankside Globe, Sam Wanamaker’s early draft of the Shakespearean replica; and a 90-minute gymnastic exercise performed by a cast of eight in identical chain mail and black breeches at the Arts Theatre.

This gives an idea of how alterable and adaptable Hamlet has been, and continues to be. There are contestable readings between the Folios, any number of possible cuts, and there is no end of choice in emphasis. Trewin once wrote a programme note for a student production directed by Jonathan Miller in which he said that the first scene on the battlements (“Who’s there?”) was the most exciting in world drama; the scene was cut.

And as Steven Berkoff pointed out in his appropriately immodestly titled book I Am Hamlet (1989), Hamlet doesn’t exist in the way Macbeth, or Coriolanus, exists; when you play Hamlet, he becomes you, not the other way round. Hamlet, said Hazlitt, is as real as our own thoughts.

Which is why my three favourite Hamlets are all so different from each other, and attractive because of the personality of the actor who’s provided the mould for the Hamlet jelly: my first, pre-critical-days Hamlet, David Warner (1965) at the Royal Shakespeare Company, was a lank and indolently charismatic student in a long red scarf, exact contemporary of David Halliwell’s Malcolm Scrawdyke, and two years before students were literally revolting in Paris and London; then Alan Cumming (1993) with English Touring Theatre, notably quick, mercurial and very funny, with a detachable doublet and hose, black Lycra pants and bovver boots, definitely (then) the glass of fashion, a graceful gender-bender like Brett Anderson of indie band Suede; and, at last, Michael Sheen (2011) at the Young Vic, a vivid and overreaching fantasist in a psychiatric institution (“Denmark’s a prison”), where every actor “plays” his part.

These three actors – Warner, Cumming, Sheen – occupy what might be termed the radical, alternative tradition of Hamlets, whereas the authoritative, graceful nobility of Jacobi belongs to the Forbes Robertson/John Gielgud line of high-ranking top drawer ‘star’ turns, a dying species and last represented, sourly but magnificently, by Ralph Fiennes (1995) in the gilded popular palace of the Hackney Empire. Fiennes, like Cumberbatch, has the sort of voice you might expect a non-radical, traditional Hamlet to possess.

But if you listen to Gielgud on tape, you soon realise he wasn’t ‘old school’ at all. He must have been as modern, at the time, as Noel Coward. Gielgud is never ‘intoned’ or overtly posh, he’s quicksilver, supple, intellectually alert. I saw him deliver the “Oh what a rogue and peasant slave” soliloquy on the night the National left the Old Vic (February 28, 1976); he had played the role more than 500 times, and not for 37 years, but it was as fresh, brilliant and compelling as if he had been making it up on the spot.

Ben Kingsley, too, in 1975, was a fiercely intelligent Royal Shakespeare Company Hamlet, and I saw much of that physical and mental power in David Tennant’s, also for the RSC in 2008, with an added pinch of mischief and irony. There’s another tradition, too, of angry Hamlets: Nicol Williamson in 1969, a scowling, ferocious demon; Jonathan Pryce at the Royal Court in 1980, possessed by the ghost of his father and spewing his lines, too, before finding Yorick’s skull in a cabinet of bones, an ossuary of Osrics; and a sourpuss Christopher Ecclestone (2002), spiritually constipated, moody as a moose with a migraine, at the West Yorkshire Playhouse.

One Hamlet who had a little of all these different attributes – funny, quixotic, powerful, unhappy, clever and genuinely heroic – was Iain Glen (1991) at the Bristol Old Vic, and I can imagine Cumberbatch developing along similar lines. He, like so many modern Hamlets, is pushing 40 – as was Jude Law (2009), hoary-voiced in the West End – yet when Trevor Nunn cast Ben Whishaw (2004) straight from RADA, aged 23, petulant and precocious, at the Old Vic, he looked like a 16-year-old, and too young for what he was saying. It’s like the reverse of King Lear, where you have to be younger to play older with any truth or vigour.

Michael Billington’s top Hamlet remains Michael Redgrave, aged 50, in 1958, as he recounts in his brilliant new book, The 101 Greatest Plays (seven of the 101 are by Shakespeare); Hamlet, he says, more than any other play, alters according to time as well as place.

So, Yuri Lyubimov’s great Cold War Hamlet, the prince played by the dissident poet Vladimir Visotsky, was primarily about surveillance, the action played on either side of an endlessly moving hessian and woollen wall. And in Belgrade in 1980, shortly after the death of Tito, the play became a statement of anxiety about the succession.

There’s a mystery to Hamlet that not even Sherlock Holmes could solve, though Cumberbatch will no doubt try his darndest – even if he finds his Watson at the Barbican (Leo Bill is playing Horatio) more of a hindrance than a help; there are, after all, more things in heaven and earth than are dreamt of in his friend’s philosophy.

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Oh! Did I say that we were never going to see Iain Glen in the skin of the great Dane? Tsk. How silly of me. Meet IG’s Hamlet in Tom Stoppard’s postmodern theatrical whimsy ROSENCRANTZ AND GUILDENSTERN ARE DEAD, shot the year before the Bristol play.

Though almost surreal and most often funny as the film follows the Pulp Fiction-like misadventures of two forgettable Shakespearian characters, crossing paths with other more or less fortunate characters, their time with Hamlet makes us privy to the Dane as we never quite see him in the Bard’s play... but for one memorable scene, in which Iain Glen absolutely nails it, emoting the famous “To be or not to be” which you see tortures his soul, brings tears to his eyes and contorts his mouth; the moment made all the more memorable by the fact that it is a silent scene. You never hear him utter the famous line, but you see the words leave his lips and feel them mark your soul.

I’m kinda telling myself that it’s 1991 and I’m sitting in the Old Vic, in Bristol, not London. Not yet.

#Iain Glen #hamlet

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