New York City has been a notorious basket case for longer than I've been alive. How much longer is up for debate. A symbol of American industriousness since around the time of independence, and the financial and cultural capital since the nineteenth century, yes. But for decades it's been beset by varying combinations of crumbling infrastructure, pervasive street crime, runaway expenses, and terrible leadership.
Through all that, though, the city has maintained a kind of allure. In part it's the traffic accident rubbernecking thing. But aspects of it remain beautiful. It's a real place, and an instantly identifiable one.
I enjoyed the first season of Evil. It's a paranormal horror show that gets a lot of mileage out of keeping plausible deniability about its supernatural aspect. Having a drama about possession assessors from the Catholic Church where one of them is an atheist from a Muslim family is counterintuitive. Anyway, production went on hiatus when everything went on hiatus. When it came back it had switched from CBS to Paramount +. While there have been three seasons now I only recently started watching the second one now after purchasing it from Vudu. (Could have watched it on Amazon Prime but only by subscribing to their Paramount stream. No thanks.)
While the overall tone is consistent with season one, there are a few changes. For one, being out of FCC jurisdiction means characters can swear. What's weird about this is that in the first half of the season, every episode seems to have people shouting "fuck." Then in the back half it stops, like they'd filled their quota. More interestingly Andrea Martin has joined the cast on a recurring basis as a nun. A heroic nun. As a non-Catholic Catholic school attendee I'd rate her performance eerily accurate.
Again, it's a very New York show. The New York of Rosemary's Baby, after all these years.
I've also started re-reading Don DeLillo's Great Jones Street, a novel set you can guess where. Freewheeling in a deadpan way, it's not one of the DeLillo books that has garnered a lot of mainstream praise. It probably won't join the two novels that have been made into movies. Yet it is one of my favorites.
The book centers on and is narrated by Bucky Wunderlick, a rock star taking an open-ended break after everything spins out of control. Which it continues to do. DeLillo clearly based Bucky on Bob Dylan, but kept a free hand by not doing so too closely. For one thing Bucky is actually a native New Yorker, while Dylan is an émigré from You Betcha country. There's a narrative motion of power slipping into unaccountable places, one which seems prophetic although I think the author was looking around rather than forward.
"Nobody knows me from shit," he said. "But I'm a two-time Laszlo Platakoff Murder Mystery Award nominee. My one-acters get produced without exception at a very hip agricultural college in Arkansas. I'm in my middle years but I'm going stronger than ever. I've been anthologized in hard cover, paperback, and goddamn vellum. I know the writer's market like few people know it. The market is a strange thing, almost a living organism. It changes, it palpitates, it grows, it excretes. It sucks things in and then spews them up. It's a living wheel that turns and crackles. The market accepts and rejects. It loves and kills."