“It’s strange to write for an enthusiast press but have your status as a fellow enthusiast held in permanent doubt.”—From this Storify, building on these two Storifys."It’s strange to write for an enthusiast press but have your status as a fellow enthusiast held in permanent doubt."
I thought this was the best overall screening this year— I really had a good time with most of the shows at this one. (Trek fans might like The Frontier— I really liked this month’s Skateboard Cop and Perplexia…).
People talk about eighties in American comics as being the illest decade, and they were pretty cool—Miracleman, American Flagg!, Ronin, Hard Boiled, et al.—but I was thinking about how we never really talk about how cool the ’80s was for manga. Otomo was doing Domu and Akira,…
“Over the last several months, Mr. Gross has threatened to resign from Pimco, the person briefed on the matter said. Mr. Gross’s recent behavior — showing up at a mutual fund industry forum to give an address wearing sunglasses and writing a monthly investor letter that was essentially an ode to his dead cat — has also drawn scrutiny.”—
The guy who wrote an “ode to his dead cat" was "head of the $222 billion Total Return Fund, one of the world’s largest bond mutual funds.” Also:
Mr. Gross called himself the Justin Bieber of bonds and said he wanted to hypnotize reporters into lionizing him.
[…]Once, as a young man, Mr. Gross was so disappointed in the service at a restaurant that he demanded a waitress pay him 25 cents.
[…]“Aside from sleeping, Bob [his cat] loved nothing more than to follow me from room to room making sure I was O.K.,” he wrote. “It got to be a little much at times, especially when entering and exiting the shower. I’m not a particularly shy guy, but then why was a female cat named Bob checking me out all the time?”
[..] “At 8 a.m., a song that someone recommends is blasted over the sound system. Mr. Gross kicks it off with “Short Skirt/Long Jacket” by the alt-rock band Cake. He even helps lead a conga line past rows of stunned-looking traders.”
Yeah, I’ve been sitting in on the edit for hours and hours. I’m very passionate about anything where I get to have some creative control. I definitely look at every shot and think about what jokes to cut and what to keep. I wrote this special to have some unique aspects to it. You know, you have dogs in the audience and things of that nature, and so it needed some extra attention and care throughout the whole process. It’s been a real passion project and I’m excited. I hope people like it.
Did you say there are dogs in the audience?
Yeah, there are some live dogs who wander into the audience.
Watching Seinfeld and Letterman talk about coffee in the middle of night. Seinfeld’s weird— it’s weird that there’s a guy who’s as rich as Croesus who just goes around recreationally complaining to people about their use of common phrases and expressions. And people are thrilled about it— “Old Moneybags Jones just told me to stop saying ‘It is what it is’ before taking a private jet to the Hamptons. What an honor.” There’s just something weird about that. Also, something slightly sad that when Letterman’s gone, nobody’s going to be able to talk to Seinfeld like an equal, show-biz-wise. Louis CK has Conan. But Seinfeld will just be like entertaining little kids, like a birthday party clown.
They should’ve made an Alan Coulter channel on YouTube, or put a best of together or something. Coulter bits are the best…
“That was a handheld, drill-based dildo trident, and last year, we had a dildo trident that was a big, Poseidon-like spear. Dildo tridents are a real central part of the mythology of Rafi and Dirty Randy, apparently.[…] If you think about it, the fact that there are two characters who routinely commit wanton acts of murder, revenge, vigilante justice, possibly-consensual pornography on what is ostensibly a normal sitcom about guys who play fantasy football is pure madness.”—Jason Mantzoukas, talking to the Daily Beast.
[…] I have long been besotted with the works of Chinese director Wong Kar Wai—and his frequent cinematographer, Christopher Doyle. His films, “In the Mood for Love” and “Chungking Express” in particular, are gorgeous meditations on longing and desire and missed connections. They are spectacularly shot—and a while back, I noticed how tiny elements of color in the foregrounds of the frames are often connected to similar colors in the background—giving scenes a lush, unified atmosphere that feels natural and un-designed. So we tried—as best and as cheaply as possible—to do that. You will notice scenes tied together by colors. Cameraman Mo Fallon and cameraman/editor Nick Brigden did, I think, truly epic work on this one. I mention longing and desire. And in many ways, that’s what this episode is about. […]
Everyone here ignoring the recent news stories on threats to Emma Watson has probably been making a good move. If you’ve read about the threats to her or about them being a hoax with an anti-4chan aim, though, it’s really worth reading this debunking.
The news outlets I read covered the initial threats and mostly covered the ‘hoax’ but stopped there. One of the current most read stories on BBC News, for instance, still takes at face value the story that it was a hoax by a social media company called Rantic campaigning to shut down 4chan. I guess that correcting a correction is quite embarrassing, plus talking about hoaxes of hoaxes inevitably starts sounding like bizarre conspiracy theory territory, and a lot of mainstream journalism is already shaky on internet matters.
There’s something really terrible about Rantic being the story standing, though.
Having followed recent sagas around the disgusting harassment of women for daring to have an opinion on video games, there are some pretty consistent messages pumped out by harassers and deniers on twitter and in comment sections:
1) Women fake that threats have been made to them, for attention
2) They want attention to further their cause of promoting censorship
The fact that both are really obviously not true causes some issues.
Now, look at the Rantic statement that respectable news organisations are currently running with. Rantic says it was hired by celebrities, and includes a letter to Obama, no less, calling for censorship of 4chan. So, the people behind this have created a massively high profile threat to a female celebrity talking about feminism (and the threats were still real, whether they were from the nebulous 4chan or not). And now they’ve got the implication almost as widely reported that she hired someone to make a fake threat, in order to gain attention for the cause of censorship.
After this struck me, a Sharon Van Etten post on the initial story popped up in my facebook feed due to a friend commenting on it, and sure enough, elsewhere in the replies, someone linked to a legit-looking news article about the ‘hoax’ and called it a Social Justice Warrior conspiracy to promote government censorship (I would post a photo, but facebook’s comment system is so crap I can’t get back to it).
I don’t think the supposed motivation of the people behind this and whether they have any links to 4chan is even relevant. They could be just playing all sides for clicks, whatever, but they are acting as a great help to misogynists everywhere.
“I value the ability to stage something well because when it’s done well its pleasures are huge, and most people don’t do it well, which indicates it must not be easy to master (it’s frightening how many opportunities there are to do something wrong in a sequence or a group of scenes. Minefields EVERYWHERE. Fincher said it: there’s potentially a hundred different ways to shoot something but at the end of the day there’s really only two, and one of them is wrong).
So I want you to watch this movie and think only about staging, how the shots are built and laid out, what the rules of movement are, what the cutting patterns are. See if you can reproduce the thought process that resulted in these choices by asking yourself: why was each shot—whether short or long—held for that exact length of time and placed in that order? Sounds like fun, right? It actually is. To me. Oh, and I’ve removed all sound and color from the film, apart from a score designed to aid you in your quest to just study the visual staging aspect.”—Steven Soderbergh put a silent Black and White version of Raiders of the Lost Ark with a Trent Reznor soundtrack on his website, for educational purposes.
“Two armed “polygamist women” dressed like “ninjas” were subdued by a sword-wielding man during a home invasion, according to police in suburban Utah.
Police said the two women, aged 18 and 22, were attacking the home of a witness and victim in a criminal child sex assault case against a man the women called their “husband”. The women “violently attacked one of the adult males in the house who came to see who was coming,” Ian Adams of the West Jordan police department told the Guardian.
“Another adult male joined the fray in defense of the first male victim. He was armed with a sword, and using a sword … and with the other male [was] able to subdue the two women until police arrived and took them into custody.””—
Liam Neeson:What my wife has on her tombstone, I guess that's my favorite now: "Cast your bread upon the water, and it will be returned tenfold." That's not the direct quote, but that's what I put on her gravestone. She was always saying that to me, you know? Where I'd be going, "Eh, I'm not sure." She'd say the opposite. I would always say the glass is half empty, and she would always say half full. Always. But I'm changing, I think.
GQ:Do you still have faith?
Liam Neeson:I think I do. I mean, I don't practice. But it's not far from me. And I have faith in the power of theater, which is quite similar—a body of people seeing something being enacted. It's at least 4,000 years old; I see how that can move people and change attitudes, the power. I believe in that faith. Since my wife passed away, do I believe in an afterlife? I don't know.
GQ:What's your epitaph?
Liam Neeson:I don't know. Tasha, she's buried up near our house. Old cemetery. Her grandmother, too. I go see Tasha once or twice a week. Just to talk. I like it.... There's a Civil War soldier near her. I look at his headstone a lot. All it says is GRIT AND GRACE.
This appears to be the back of a hand written note that the great Alex Toth sent to Michael Avon Oeming, which was then reprinted in the back of the third issue of The Cross Bronx.
All the evidence you’d need to call Toth an all-time great artist and illustrator is there in those little boxes.
I love the roofs of the buildings (third row, fourth from the left), the car on what seems to be a wet road (fourth row, third from the left) and the running man (last row, third from the left). And all of those great faces. Plus, I think that’s Plastic Man in the bottom row, second from the right.
“Scope: Did you like The Cabin in the Woods (2012)?
Joseph Kahn: No I didn’t, and I’ll tell you why. Detention and The Cabin in the Woods say very different things about movies. I think in The Cabin in the Woods we’re meant to be smarter than the characters in the movie. You walk in, you know the genre, you know the clichés, and it reaffirms how stupid the genre is and you get to watch other people being punished for that fact. The only surprise is at the end, and it’s not that great a surprise in my opinion—they justify why those things have to be clichés and then a big hand comes out of the ground. Detention works in the opposite way. It says, “You have no fucking idea how genres work.” Nobody in the movie can predict what’s coming next, and neither can you when you’re watching it. We believe that genre can be changed and that more can always be mined out of it. It’s two very different approaches to genre.”—Welcome to my Detention Fan-Blog.