Ollie and pet rescue

The new Ollie having milkWe are suckers for the face of a cat at the window, a hungry cat, a cold cat, a lost cat, a cat someone has abandoned to fend for themselves and is doing a poor job of it. The pleading eyes, the rough coat, the quiet shiver in the rain or the cold. How can you turn away from that and still call yourself human?

Ollie, our latest addition to our household, was one of those faces, quite recently. We had seen him in the neighbourhood for a few weeks, getting thinner each time we caught a glimpse. We asked neighbours and no one recognized him, or thought we were seeing another stray – a feral black cat nicknamed Buddy. It wasn’t, we knew that right away.

This cat wasn’t feral. Although timid, he would let you approach – slowly, talking calmly – or would approach you if you sat very still and spoke to him. Then he was affectionate and sometimes even a bit vocal. Clearly he had been a household cat at some time. He would sometimes show up on the back deck, looking inside, very evidently lost and hungry. A long nose, lovely face that reminded us of a former cat we had loved for many, many years: Ollie. Our heartstrings were being tugged.

Coincidentally, I recently began reading A Small Furry Prayer: Dog Rescue and the Meaning of Life, by Steven Kotler. It deals with dog rescue, human-canine relations, the meaning of life and the meaning of compassion to our core beings. Cats and dogs have a different relationship with humans, but the core ethical and moral questions remain the same, regardless of which you rescue (or which you refuse to help). It’s a bigger issue than just one animal, or even one species.

Kotler helped remind me that we have a responsibility that is greater than what or who we are. More than to one another, more than just to our species: we have a responsibility towards all life. Our own life is about making moral and ethical choices. And there was one staring at us through the patio door. No matter how we chose, there would be consequences.

We debated what to do. Adopt or call the humane society? The Georgian Triangle Humane Society is a great place run by wonderful, caring people, but they already have a shelter full of unwanted cats and dogs, of pets people got tired of, or whose circumstances changed. Why burden them more with another? We both accept that we, as compassionate humans, have a responsibility to other species, so why fight the inevitable?

But, our common sense argued, what about the other two cats? The dog? How will they handle a newcomer? Can we afford another cat, what with the food and the vet bills and our reduced seniors’ income? What if he proves aggressive? Or has an illness that requires treatment? Will he spray or claw furniture or even use the litter boxes? What if he’s trouble?

Altruism comes with a price. Taking care of strays – especially sick or troubled ones or strays of unknown provenance – can be both emotionally and physically draining, not to mention expensive. We’ve spent more on medical care for our cats and dogs than on ourselves (well, that’s in part thanks to universal healthcare that allows us not to sink into debt over our own maintenance). They get regular care, the best food and are treated not as property but as co-voyageurs on our life’s trip.
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Legends of Horror

Some of my B-movie collectionsLegends of Horror is the title of one multi-DVD collections of films I own. Fifty films in this package. They’re B-films for the most part (and a few of lesser quality), dating from 1927 (silent) to 1980, mostly in B&W, but those dating from the mid-1960s on are usually colour. The collection title is misleading: it’s really a mix of early horror, mystery and suspense.

It’s one of several similar sets and single DVDs that make up my personal collection of B films (a very few, but far from all, shown in the photo on the right). Most of which are early scifi or monster films (including the entire set of Universal Monster Classics with the original Frankenstein, Wolfman, Dracula, Mummy, Creature From the Black Lagoon and Invisible Man, plus the original sequels, but they are from a different publisher, not shown here), along with numerous detective/suspense and noir films from similar eras.

Several of these films appear in other collections – the companies that compile them have a tendency to reuse titles in collections of different names. This actually has gives some obscure films more circulation that they would have on their own, which isn’t a bad thing.

But as a recent article in Newsweek noted, classic film – B or otherwise – is disappearing online:

…in the vast world of Netflix streaming, 1960 doesn’t exist. There’s one movie from 1961 available to watch (the original Parent Trap) and one selection from 1959 (Compulsion), but not a single film from 1960. It’s like it never happened. There aren’t any movies from 1963 either. Or 1968, 1955 or 1948. There are no Hitchcock films on Netflix. No classics from Sergio Leone or François Truffaut. When Debbie Reynolds died last Christmas week, grieving fans had to turn to Amazon Video for Singin’ in the Rain and Susan Slept Here. You could fill a large film studies textbook with what’s not available on Netflix.

This is just one reason I collect: otherwise I’d have no access to watch them. And even if Netflix brings in the A list of classics, I doubt it will offer much if any of the B list:

Netflix’s selection of classic cinema is abominable—and it seems to shrink more every year or so. As of this month, the streaming platform offers just 43 movies made before 1970, and fewer than 25 from the pre-1950 era (several of which are World War II documentaries). It’s the sort of classics selection you’d expect to find in a decrepit video store in 1993, not on a leading entertainment platform that serves some 100 million global subscribers.

Netflix is doing to classic movies what the internet did to print newspapers, what Walmart did to downtown retail and what Amazon did to bookstores. And there are precious few DVD stores around for me to buy from (none, in fact, in my home town; the closest is 60 km away).

What worries me about the streaming trend most is its impermanence. You can’t share it, hold it, carry it, and if it falls from popularity and gets removed from the cloud, you may never be able to watch it again. Or ever. Who knows if it will even exist in real form in the near future? Even B movies deserve better than a digital death. What if you choose to watch, say, The Thin Man series and they’ve been deleted from publication because no one is buying DVDs any more? What if you discover it’s not on streaming services (these movies – wonderful, all of them – are not, currently). What then? Will these films vanish, the delightful repartee between William Powell and Myrna Loy just become a dry footnote in some database?

I collect my movies to save us all from this frightening future (in the same vein, I collect and scan sheet music from the 1920s-50s so that the music doesn’t get forgotten and lost forever).
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