THE RAMBLER REVIEW: Issue #02
Romcoms, decorative tiles, and the return of Taylor Lautner
Welcome to the second issue of The Rambler Review - a monthly newspaper covering the crème de la crème of my media and arts consumption from the past few weeks.
February in a nutshell: Romantic, melancholic, unexpectedly violent.
This month seems to have passed in a blur of paper hearts and an underlying sense of morbidity, no doubt aided by three things: The current rain, the fact that I’ve been working my way through Bram Stoker’s Dracula (1897), and my apparent proximity to an attempted murder two nights after Valentine’s Day.
This - combined with the honeycomb, wine, and red roses of the month - has made for an interesting few weeks
I’ve also discovered a new infatuation, in the form of In The Mood For Love (2000), have finally purchased a mass of new art supplies while developing an obsession with decorative tiles, and have been informed by a friend that he saw something resembling the loch ness monster outside of Te Whanganui-a-Tara Wellington.
Interesting times indeed.
B.
Crescent City - House of Earth & Blood and House of Sky & Breath (2020, 2022): The first Crescent City novel has become something of a comfort read for me over the past few years. The contemporary-yet-high-fantasy setting -- which was an initial deterrent -- has become a haven; close enough that I can see my own life reflected back at me, but distanced enough to be a source of escapism. The protagonist is alright, the context is highly aesthetic, the female friendships had potential. Pain au chocolat made a recurring appearance, which can never hurt. There’s a weird little pet, nice lingerie, antiquities, night clubs, reality tv. It has enough comforting elements to warrant the occasional reread. AND YET. This series absolutely loses me from the second book onwards, at which point it becomes a frat boy’s playground as the interesting female characters are phased out of the narrative. There are a seemingly endless number of references to one character ‘toying with his lip ring’, which gives me an ick so palpable that it’s my own personal nails on a chalkboard. In fact, I would rather listen to an entire nails-on-chalkboard symphony and then proceed to eat that very chalkboard than hear one more reference to this man’s crusty fucking lip ring. There are a million other reasons why this series goes downhill, but this is the one that brings me the most grief. So why did I read the sequel? It was a mental health month, c’est la vie.
Dracula (1897): I actually haven’t finished this one yet, but needed everyone to know that I’ve done something with my time other than reread Sarah J. Maas novels.
How to Lose a Guy in Ten Days (2003): February is Valentine’s season, so there’s going to be a good few romcoms in this list, starting with How to Lose a Guy in Ten Days. I have hazy memories of watching this film at a younger age and it failing to make much of impression (such is the case with many 1990s/early 2000s films that I have rewatched and loved as an adult) - but have to admit that I was cackling my way through Andie’s hijinks during this rewatch.
In The Mood For Love (2000): Possibly the most exquisite piece of cinema I’ve ever seen. I’m in the midst of writing a longer review of this film as we speak, so keep an eye on your inboxes.
13 Going on 30 (2004): Again with the thematic romcoms – this was cute and light, but leaned heavily into the romantic love>female friendships trope. Most of the film’s modern appeal came from the nostalgia value, but without having a personal history with the film the whole narrative just came off a little flat. It did make me incredibly grateful to be an adult though, and revived my excitement to turn thirty in the semi-distant future.
Wicked (2024): I watched this with friends last Sunday, after a conversation about the defects of Emilia Pérez turned into an extollation of the virtues of Wicked. There’s been so much discourse on the genius of this film that I have nothing to add - this film really is spectacular. It’s that simple.
Charlie’s Angels (2000): The early 2000s Charlie’s Angels is the definition of successful nostalgia value. The unquestionable champion of all CA remakes, I loved this film as a teenager and still have an unshakeable appreciation for the gaudy action montages, undercover outfits, ridiculous poses, hair flips, the spy tuba (trombone?), weird villains, absurd stunts, and, of course, the Chad. The Chad was great.
Chubby Women: As part of the Lunar New Year festivities, Auckland played host to the Chubby Women series of sculptures by artist Xu Hongfei. I always feel tense when observing female figures portrayed by a male artist, and hesitate to truly engage with the art, but the Chubby Women series was utterly joyful - each statue made empowering by her complete immersion in her own self and experience, and her deliberate disregard of any external gaze.
February has also been a passion month for decorative tiles and I’ve been sent some beautiful recommendations, including Glaswegian Tenement Tiles (shared by
), Turkish Iznik tiles (shared by ), and the Tyjeski Tile Co. (shared by ).
Taylor Lautner - Werewolf Hunter: Turns out, Taylor Lautner has been saving us from the creatures of the night all this time. I honestly don’t know what to say, other than this show might just see me through the next four years.
This New Yorker article on the aesthetic precedent set by In The Mood For Love (2000).
‘Romance in the Making’ Plum Velvet Maxi Dress: No words, just love at first sight.
You Are Your Cultural Diet by Empty Calories’
. This is a wonderfully insightful piece on the formative influence of the media we consume:People should consume what they like. But consumption isn’t just passive enjoyment—it’s dynamic, it answers back. You’re not just taking in calories; you’re reshaping the very organs through which you consume.
In this very peculiar and wearying month, February’s Special Mention goes to the baklava I buy on Sundays from a local market. Incomparable.
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