The Bit Player is a documentary film about Claude Shannon, the underrated “Father of Information Theory”, whose work, more than anyone else’s, laid the foundation for the information age in which we find ourselves currently immersed.
In a blockbuster paper in 1948, Claude Shannon introduced the notion of a “bit” and laid the foundation for the information age. His ideas ripple through nearly every aspect of modern life, influencing such diverse fields as communication, computing, cryptography, neuroscience, artificial intelligence, cosmology, linguistics, and genetics.
The film is directed by Mark Levinson, a former particle physicist, who also directed the excellent Particle Fever (about the search for the Higgs boson). The Bit Player premieres later this month at the World Science Festival in NYC and presumably will be out in theaters sometime after that.
It turns out that the fourth track off of Philip Glass’ soundtrack for Koyaanisqatsi matches up pretty well to the dancers in this clip from Soul Train.
This is what usually happens: a film creates a compelling fantasy world and fans clamor for more. So sequels build that world out, they show more of its mechanics, its people, its history. But “John Wick: Chapter 3 β Parabellum” demonstrates one little acknowledged principle of escalated world building: the inevitable outcome is bureaucracy.
[…]
Things that were at first only suggested become explicit, mysteries are explained, and idiosyncrasies metastasize into red tape. Suddenly filmmakers find themselves in a position where building the world becomes its own motivation.
The Downton Abbey movie is nearly upon us (it’s out in Sept) and the first full-length trailer is here. The action picks up a couple of years after the TV show ended and concerns the visit of King George V and Queen Mary to the estate. I’ve embedded the UK trailer above β it’s better than the American trailer even though it gives away a bit more of the plot. Plus, in the UK version you get to see the deployment of Carson in the Battle of the Head Butlers. Carson’s glance of disdained indifference toward the royal butler might be the most spine-tingling battle moment since Aragon uttered “for Frodo” and charged headlong into the hordes of Mordor.
really the point of the entire show was to let middle american viewers dabble in the lavish lives and costumes of the edwardian .001% without feeling bad about what made that lifestyle possible
anything that threatened that “safari in the aristocracy” aspect β be it the realism of class warfare, or the actual, historical evolutions of the era that would have upended everything that happened β was quickly neutered and turned into quaint fluff.
Still excited for the movie though. Butler Battle 2019!!
An exhibition called Hollywood Dream Machines: Vehicles of Science Fiction and Fantasy just opened at the Petersen Automotive Museum in LA. It features more than 50 vehicles from sci-fi and fantasy films like Blade Runner, Iron Man, Mad Max: Fury Road, Black Panther, Minority Report, Star Wars, Speed Racer, Back to the Future, and Tron: Legacy. The exhibition runs through March 2020.
In 2005, Bobby Henderson wrote an open letter to the Kansas State Board of Education about their decision to allow teaching of intelligent design as an alternative to evolution in public school science classrooms. In it, he introduced the world to the Flying Spaghetti Monster:
I think we can all agree that it is important for students to hear multiple viewpoints so they can choose for themselves the theory that makes the most sense to them. I am concerned, however, that students will only hear one theory of Intelligent Design.
Let us remember that there are multiple theories of Intelligent Design. I and many others around the world are of the strong belief that the universe was created by a Flying Spaghetti Monster. It was He who created all that we see and all that we feel. We feel strongly that the overwhelming scientific evidence pointing towards evolutionary processes is nothing but a coincidence, put in place by Him.
It is for this reason that I’m writing you today, to formally request that this alternative theory be taught in your schools, along with the other two theories.
The Flying Spaghetti Monster quickly became an internet meme and, shortly thereafter, an actual religion. *nudge nudge wink wink*
I, Pastafari is a feature-length documentary about the Church of the Flying Spaghetti Monster and its adherents, the Pastafarians.
I, Pastafari is a story about a few brave Pastafarians, evangelizing the message of the FSM, while fighting against intolerant skeptics, for the freedom to access religious privileges in law granted to other “real” religions. In a time of flat-earthers, anti-vaxxers, fake news, and alternative facts, the Pastafarians may be the savior the world has been waiting for. R’Amen.
I have a bad feeling that what started out as a satirical criticism of religion will be an actual religion in the future whose adherents won’t see the irony in or damage done by that shift. That’ll be fun.
This is neat: Peter Mayhew as Chewbacca speaking English to Harrison Ford’s Han Solo in a scene from Empire Strikes Back:
Mayhew’s dialogue provided context for Ford to play off of. Chewbacca’s more familiar voice was dubbed over the on-set dialogue in post production β listen to Star Wars sound designer Ben Burtt describe how he created Chewie’s voice in this video at ~26:18. Mayhew passed away last week at the age of 74.
Asif Kapadia, the director of Senna and Amy, has directed a documentary film about footballer Diego Maradona, one of the best to ever lace up the cleats.
Having never won a major tournament, ailing football giant SSC Napoli had criminally underachieved. Their fanatical support was unequalled in both passion and size. None was more feared. But how they ached for success…
On 5th July 1984, Diego Maradona arrived in Naples for a world-record fee and for seven years all hell broke loose. The world’s most celebrated football genius and the most dysfunctional city in Europe were a perfect match for each other.
Maradona was blessed on the field but cursed off it; the charismatic Argentine, quickly led Naples to their first-ever title. It was the stuff of dreams.
But there was a price… Diego could do as he pleased whilst performing miracles on the pitch, but when the magic faded he became almost a prisoner of the city.
The film will debut at Cannes and HBO just bought the TV and streaming rights. Senna is one of my all-time favorite documentaries, so I’m excited for this one.
Update: I’ve embedded the full trailer above and moved the teaser down here:
Japanese illustrator Takumi made these illustrations of characters from Avengers: Endgame in the style of Ukiyo-e prints. As Johnny Waldman notes at Spoon & Tamago, the artist took care in translating the the Marvel characters into the proper style:
The artist spent a lot of time thinking about the unique patterns and kanji names for each character. Thor is pronounced tooru in Japanese, so he assigned the Japanese equivalent, which is εΎΉ(γ¨γγ). Thanos’ 6 infinity stones served as the inspiration behind that name, which references the 6 realms of Buddhism.
To celebrate the 40th anniversary of the release of Alien, 20th Century Fox commissioned six fan-made short films that continue the story of the Alien universe. Here’s the first film, Harvest:
A few months ago I noticed that several friends (who speak English and aren’t deaf) routinely watch TV and movies with closed captions and subtitles on. I asked about this on Twitter and the resulting thread was fascinating. Turns out many of you watch TV this way for all kinds of different reasons β to follow complex dialog in foreign or otherwise difficult accents, some folks better retain information while reading, keeping the sound down so as not to wake sleeping children in tight living spaces, and lots of people who aren’t deaf find listening difficult for many reasons (some have trouble listening to dialogue when there’s any sort of non-ambient noise in the background).
I turned them on last night when watching Sex Education because the mixture of strong accents, British slang, and fast talking means I miss a lot otherwise. Also I’d had 2 margaritas.
When I watch tv alone at night I gotta keep the tv low so the effects and soundtrack don’t wake up the kids. Usually that means the voice track is lost.
Typically the whole family is in the living room, but some might be watching their iPad or on their phone so there is a lot of competing noise. I found it helps me focus on what I’m watching.
As Sebastian Greger notes in his summary of the resulting thread, closed captioning is a great example of how accessibility features can benefit everyone, especially those who may have disabilities or limitations that aren’t typically acknowledged as such.
The reasons why people watch TV with closed captions on, despite having good hearing abilities and not being constrained by having to watch muted video, are manifold and go far beyond those two most commonly anticipated use cases.
Perhaps you saw The Lobster (stunning and strange dystopian love story starring Rachel Weisz and Colin Farrell) or my recent Oscar favorite The Favourite (cheeky and wicked period drama with the powerhouse trio of Emma Stone, Rachel Weisz, and Olivia Colman) or maybe you’ve been following him since 2009’s Dogtooth. All three are examples of the relatively new “Greek Weird Wave” cinema, from the genre’s godfather himself, Yorgos Lanthimos. It’s hard to find pieces on Weird Wave written in English, but Dazed has a roundup from a few years ago: Greece may be broke, but its film scene is rich. Here’s a more current list of films via IMDB.
Reclusive and isolated social groups, with specific rules and a tendency for confinement are certainly the center of Lanthimos movies. He uses his actors in an innovative way, directing them to play as unrealistically as possible, in a way that reminds us of marionettes or robots who are not yet really aware of the element of speech and thought. Every frame is designed and stylized strictly, to a great extent where the camera stays motionless in space, after being set in a carefully thought-out position, where the only movement comes from the actors playing in the scene. In this unorthodox way Lanthimos is trying to introduce us to his unique utopian environments and isolated social groups.
I’m hoping The Favourite’s ten Oscar nominations were enough to get Lanthimos and Greek Weird Wave more attention so we can see more films from the genre in coming years, especially ones filmed and produced in Greece. They can use the economic boost.
Ben Burtt was the sound designer for the original Star Wars trilogy and was responsible for coming up with many of the movies’ iconic sounds, including the lightsaber and Darth Vader’s breathing.1 In this video, Burtt talks at length about how two dozens sounds from Star Wars were developed.
The base sound for the blaster shots came from a piece of metal hitting the guy-wire of a radio tower β I have always loved the noise that high-tension cables make. And I never noticed that Vader’s use of the force was accompanied by a rumbling sound. Anyway, this is a 45-minute masterclass in scrappy sound design.
Buster Keaton: Anarchitect is a lovely piece of analysis by Will Jennings about how the legendary silent film actor used architectural space in his movies.
Keaton’s comedy derives largely from the positioning β and constant, unexpected repositioning β of his body in space, and in architectural space particularly. Unlike other slapstick performers who relished in the close-up and detailed attention to the protagonist, Keaton frequently directed the camera to film with a wide far-shot that could contain the whole of a building’s facade or urban span within the frame. Proud of always carrying out his own (often extremely dangerous) stunts, this enabled him to show the audience that his actions were performed in real-time β and real-place β rather than simply being tricks of the camera or editing process. It also allowed him to visually explore the many ways in which his body could engage with the urban form.
I’m not sure I can bring myself to watch Free Solo (my hands are getting sweaty and I’m feeling faint just thinking about it), but watching Alex Honnold critique famous rock climbing scenes from movies like Mission Impossible II, Star Trek V, and Cliffhanger is pretty entertaining and informative.
It’s no surprise that with a few obvious caveats, Tom Cruise’s climbing scene in MI:2 gets high marks. The MI stunt work is always legit.
I’ve been keeping track of every media thing I “consume”, so here are quick reviews of some things I’ve read, seen, heard, and experienced in the past month and a half. For books, I’m currently reading Silk Roads and listening to the audiobook of Guns, Germs, and Steel, which are rhyming in interesting ways. Looking back, I haven’t listened to any significant new music in months and months. What am I missing?
Turnton kitchen scissors. Ernest Wright very kindly sent me a pair of their kitchen scissors. I’ve posted so muchabouttheir story that I can’t really be objective at this point no matter what, so I feel ok saying the craftsmanship of these scissors is flat out amazing. (A-)
Cold War. Along with Roma, Spider-Verse, The Favourite, and If Beale Street Could Talk, this was one of the most beautifully shot films of 2018. Every frame a painting, indeed. (B+)
The Grinch. I wasn’t expecting to sympathize so much with The Grinch here. The social safety net constructed by the upper middle class Whos totally failed the most vulnerable member of their society in a particularly heartless way. Those Whos kinda had it coming. (B)
Mortal Engines. Why was this panned so much? It wasn’t great but it was entertaining…this and Alita felt similar to me. (B)
Captain Marvel. I liked Brie Larson in this role very much. Looking forward to seeing more in Avengers: Endgame. (B+)
Crouching Tiger, Hidden Dragon. Great movie. Very few films have matched the inventiveness of its action sequences since it came out. (A)
Apollo 11. The nearest IMAX theater is more than a 3-hour drive from where I live, so I had to watch this in a tiny theater with what sounded like a single speaker located at the front of the room. This greatly diminished the intended effect of the pristine 65mm footage. (B)
Living more than a 3-hour drive from the nearest IMAX theater. (F)
Kohler 10282-AK-CP shower head. My shower head sucked, I replaced it with this one, and now my shower head doesn’t suck anymore. (B+)
Salt Fat Acid Heat. The Salt episode intensified my desire to go to Japan. (B+)
Aquaman. Not as good as Wonder Woman, but way better than Justice League or any of the other recent DC movies. (B)
Cooking As an Art, With Jerry Saltz. This podcast episode is pretty uneven in spots, but when Chang just lets Saltz talk, it’s a goldmine of quotable ideas. “Pleasure is an important form of knowledge.” (A-)
The Unknown Known. Late in the film, Donald Rumsfeld says to his interlocutor Errol Morris: “I think you’re probably, Errol, chasing the wrong rabbit here.” Morris got a bit unlucky here in his choice of subject β by the end of the movie, we don’t know anything more about Rumsfeld than when we started. (C+)
Kindle Paperwhite. I upgraded from my old Paperwhite. I like the flat screen, that it’s lighter, and the waterproofing is going to come in handy, but the speed and screen quality are pretty much exactly the same. Are e-ink interfaces already as sharp & responsive as they are ever going to be? (A)
Bumblebee. Entertaining, but I still have a problem with the Transformers movies because the robots are so overly detailed that it’s hard to know where to look when they’re on-screen. They should be more abstract and iconic (a la Scott McCloud’s Big Triangle in Understanding Comics). (B+)
2018’s most visually inventive movie was Spider-Man: Into the Spider-Verse. In this video, Danny Dimian, Visual Effects Supervisor, and Josh Beveridge, Head of Character Animation, talk about how they and their team created the look of the movie.
Two of my favorite details of the movie were the halftone patterns and the offset printing artifacts used to “blur” the backgrounds and fast-moving elements in some scenes. Borrowing those elements from the comic books could have gone wrong, it could have been super cheesy, they could have overused them in a heavy-handed way. But they totally nailed it by finding ways to use these techniques in service to the story, not just aesthetically.
Oh and the machine learning stuff? Wow. I didn’t know that sort of thing was being used in film production yet. Is this a common thing?
Update:Simon Willison did a Twitter thread that points to dozens of people who worked on Spider-Verse explaining how different bits of the film got made. What an amazing resource…kudos to Sony Animation for allowing their artists to share their process in public like this.
In the latest episode of Nerdwriter, Evan Puschak examines how Ian McKellen does a lot of heavy lifting with his eyes, especially in the Lord of the Rings trilogy. On his way there, I really liked Puschak’s lovely description of the physical craft of acting:
Part of that craft is understanding and gaining control of all the involuntary things we do when we communicate β the inflection of the voice, the gestures of the body, and the expressions of the face.
P.S. Speaking of actors being able to control their faces, have you ever seen Jim Carrey do wordless impressions of other actors? Check this out:
The Jack Nicholson is impressive enough but his Clint Eastwood (at ~1:15) is really off the charts. Look at how many different parts of his face are moving independently from each other as that jiggling Jello mold eventually gather into Eastwood’s grimace. Both McKellen and Carrey are athletic af in terms of their body control in front of an audience or camera.
Open the canned peaches because Al Swearengen, Seth Bullock, and the rest of your Deadwood favorites are back on May 31 in Deadwood: The Movie. Here’s a tease:
Swearengen: You ever think, Bullock, of not going straight at a thing?
Quentin Tarantino brings back two of his biggest stars, Brad Pitt and Leonardo DiCaprio, in his new film Once Upon a Time in Hollywood. The teaser trailer is low on details, but we do know that Pitt plays stunt double to DiCaprio’s aging film star, the plot involves the murder of Sharon Tate by members of the Manson Family, and it opens on July 26. The film is also the last movie that Luke Perry made before he died.
Jonathan Demme’s The Silence of the Lambs is one of the finest psychological thrillers ever made. In the episode of the always-illuminating Lessons from the Screenplay, the team analyzes a scene from the film with Hannibal Lecter and Clarice Starling that demonstrates how effective scenes follow the same three act structure as entire movies/books/stories do.
The Lessons team also did a podcast episode about the differences between the screenplay for the film and the book that inspired it.
Float is a feature-length documentary film directed by Phil Kibbe about “the ultra-competitive sport of elite, stunningly-designed indoor model airplanes”. The main action of the film takes place at the F1D World Championships in Romania, where competitors from all over the world build delicately beautiful rubber-band-powered airplanes and compete to keep them afloat the longest.
After devoting years of time into construction and practice for no material reward, glory becomes their primary incentive. Like any competition, cheating and controversy are an integral part of the sport. FLOAT follows the tumultuous journey of Brett Sanborn and Yuan Kang Lee, two American competitors as they prepare for and compete at the World Championships.
“Designing, building, and flying the planes is truly an experience that requires patience and zen-like focus,” says Ben Saks, producer and subject in the film.
Georgia politician, almost-Governor, and Democratic superstar Stacey Abrams has a secret to her success: she loves Star Trek. In particular, she loves my favorite Trek series, Star Trek: The Next Generation.
In explaining her approach to politics as a black Democratic woman in a state controlled by white Republican men, she devotes several pages to a pivotal scene from “Peak Performance,” an episode from “Star Trek: The Next Generation.”
In the episode, Data, the preternaturally pale android with a greenish cast to his skin, is playing Strategema, a game that appears to be some incredibly complicated form of 3-D holographic chess, against a humanoid grandmaster named Kolrami. Data cannot defeat Kolrami, he discovers, but he can outlast him, drive him into a rage and force him to quit the game, which is itself a kind of victory.
Ms. Abrams writes that this has helped her focus her own thinking. “Data reframed his objective β not to win outright but to stay alive, passing up opportunities for immediate victory in favor of a strategy of survival,” she says in the book. “My lesson is simpler: change the rules of engagement.”
This sparked some predictably joyous reactions among Star Trek fans:
Stacey Abrams is a STAR TREK FAN?! Please insert that viral “Unfollow me now, this is the only thing I’m going to talk about all day” gif…
(And she loves Queen Nichelle? And this article came out just in time for #TrekThursday, with more DSC tonight?)
Next, that long and detailed piece of Trek fandom. A special piece for me, as we had drinks with @mollitudo at the Convention in Vegas while she was reporting it. The Utopia is the fandom. https://t.co/FodCf34kXU
The sexual politics of Trek became more and intriguing as the show matured. Jadzia Dax, DS9’s science officer and “old man” (eh!), was particularly adventurous - (and deftly incarnated by) @4TerryFarrellhttps://t.co/ZwQrHnL3r3
Star Trek is a thought experiment on how humans would behave under terminally improved conditions. This is why it matters. There’s very little sci-fi that takes on that big question.
It actually is possible to overthink this. All of this about politics and the imagination and utopian possibilities is true. But at the same time, ultimately, it’s just a really cool show. It’s one we grew up with. And as politicians get younger, it’s one we’ve always had with us, framing our background on entertainment, war, morality, politics, economics β everything.
The world the original Star Trek entered was one where space was only beginning to open, as a direct consequence of the nuclear and geopolitical crisis than enveloping the planet. Now, we have all new geopolitical crises to deal with. Star Trek offers a surprisingly resilient fictional framework for understanding most if not all of them. That’s a powerful tool. It’s foolish to pass it up.
I watched Leaving Neverland last night in one four-hour sitting…as in I literally didn’t leave the sofa. Completely riveting. Here are some thoughts I have about it.
1. At its heart, this is not actually a movie about Michael Jackson. It’s about two men, James Safechuck and Wade Robson, whose lives were utterly ruined by a man they idolized & trusted. Their childhood innocence ripped away. Their families torn apart. Their current families left wondering if they can be trusted with their own children. As the movie progresses, Jackson almost fades into the background and the viewer is just left with these men, feeling and empathizing with them and their families.
2. One of the things I was most struck by, especially in the early part of the film, was the way the two men and their families described Jackson in almost a tender, loving way. There was little on-camera anger and lashing out (although there undoubtably was during their still-ongoing recovery process). I was left with a feeling of unease that in a deep and complicated way, these two men still care for Jackson. That feeling’s gonna stay with me for a loooong time.
3. As I’m writing this post, one of Jackson’s songs echoes in my head: “Heal the world / Make it a better place / For you and for me.” I have no idea what to make of this or how to process it.
4. It is pretty simple. Unless you’re willing to perform complicated mental gymnastics to bamboozle yourself into conspiracy theory land, the plain truth is that Michael Jackson was a pedophile. You can feel however you want about that β he was a monster, he was a man broken by his own abusive childhood & twisted by the vortex of fame β but you cannot simply dismiss it. Maureen Orth covered previous accusations about Jackson for Vanity Fair; her recent article is a good short summary of the facts.
5. If you’re a famous actor who spent lots of one-on-one time with Jackson when you were a child, why would you ever in a million years tell anyone that he sexually abused you?
6. A statement released by the Jackson estate said that Leaving Neverland is “the kind of tabloid character assassination Michael Jackson endured in life, and now in death”. Who knows if they actually watched the film because it is the opposite of a sensationalistic hit piece. This isn’t Michael Moore bombast. The film is careful, methodical, and, aside from some slightly ominous music at times, quite respectful towards Jackson given the circumstances. As Wesley Morris writes, “‘LEAVING NEVERLAND’ is long but delicately, patiently done β and so quiet; you can practically hear yourself listening.”
If you don’t believe that Jackson touched anyone inappropriately, you have to reckon with the fact that he knowingly coerced families into allowing their children into his orbit while incrementally driving their parents away; that he nudged them out of the picture as they got a little older, only remembering to call when he needed someone to testify in a court of law. You have to listen to the Robson family explain how Jackson’s machinations pried the young boy’s parents apart, how the singer convinced them to move to Los Angeles from Australia, how Robson’s father committed suicide because they left him.
You come away from the film with the sense that Jackson was, at a minimum, a troubled and deeply manipulative person, more so than we’d ever imagined.
The story was that Jackson never molested anybody. And we stuck to it, and it stuck to him. And the question now, of course, is what do we do? It’s the question of our #MeToo times: If we believe the accusers (and I believe Wade and James), what do we do with the art? With Jackson, what can we do? Wade became a successful choreographer who’s made a career out of teaching his version of Jackson’s hydraulic bounces, whips, and stutters to Britney Spears, ‘N Sync, Cirque du Soleil and rooms full of aspiring dancers. “Look Back at It,” the big single from A Boogie Wit Da Hoodie’s No. 1 album from January, is built out of two Jackson hits. Michael Jackson’s music isn’t a meal. It’s more elemental than that. It’s the salt, pepper, olive oil and butter. His music is how you start. And the music made from that β that music is everywhere, too. Where would the cancellation begin?
9. Where does the cancellation begin? I have no idea about the music; I love so many of his songs (my kids are fans too, which is a whole other thing I don’t know how to deal with) but “Don’t Stop ‘Til You Get Enough” now has a second sinister meaning that I will never be able to shake. I will say this though: I’ve posted a number of things about Jackson on kottke.org over the years that are unrelated to the sexual abuse allegations. Not anymore. It’s time to hear other stories.
Tupac Shakur and Madonna dated briefly in 1994. According to Tupac’s brother Mopreme, the relationship began when Madonna passed Tupac a note during a press day for Above the Rim. The two of them broke up sometime before Tupac was shot on November 30, 1994 as part of a robbery at the Quad Recording Studios in Manhattan. Shortly after he was shot, Tupac was convicted of three counts of molestation as part of a sexual abuse case brought against him in 1993.
While in jail, Tupac wrote a letter to Madonna. This letter appears to have been sold at auction by Madonna’s former friend, art dealer Darlene Lutz, in 2018, after Madonna lost a legal fight to have it returned to her and keep it from being sold. Exactly what became of the letter is unknown.
It’s a remarkable letter, although parts of it have been blurred out by the auction house. The Independent focuses on the fact that Tupac was concerned about being seen publicly dating a white woman:
Can u understand that? For you to be seen with a black man wouldn’t in any way jeopardise your career. If anything it would make you seem that much more open & exciting. But for me at least in my previous perception, I felt due to my ‘image’ I would be letting down half of the people who made me what I thought I was. I never meant to hurt you.
Tupac was also upset by an interview that Madonna gave where she said, “I’m off to rehabilitate all the rappers and basketball players.”
“Those words cut me deep seeing how I had never known you to be with any rappers besides myself,” Tupac writes in the letter. “It was at this moment out of hurt & a natural instinct to strike back and defend my heart & ego that I said a lot of things.”
In her note on the letter, “Please Do Say Forgive Me,” Chandra Steele focuses instead on the nature and quality of Tupac’s apology.
Celebrities are separated from us by our perception of their godlike attainment of what we’re supposed to want: fame and money and sex. But when Tupac refers to their relationship, he uses words of humanity and humility. “I haven’t been the kind of friend I know I am capable of being” is how he frames the apology. It’s an empathy that some never access within themselves, no matter how many classes they take in unlocking their chakras. Later he tells Madonna, “I offer my friendship once again, this time much stronger and focused.” …
What’s more remarkable than what’s written is what isn’t. Tupac does not overstep the bounds of being an ex-lover. He does not push a selfish agenda. He has the wisdom to balance what he wants with what is warranted after leaving sans explanation. He does not burden her by asking for her forgiveness.
And then there are Tupac’s closing words:
I Don’t Know How you feel
About visiting me But if you
could find it in your Heart
I would love to speak face to face
with you. It’s funny but this experience has taught me
to Not take time 4 granted. [heart]
Whatever your opinion of the Freddie Mercury biopic Bohemian Rhapsody,1 you gotta admit the music was pretty great. After all, Mercury and Queen were pretty great. But some of the credit also goes to Marc Martel, who sounds remarkably like Mercury and did some of the vocals for the film.
Rami Malek embodies Mercury onscreen, but as he told The New York Times last year, “No one wants to hear me sing.” During the performance sequences in “Bohemian Rhapsody,” the movie sometimes employs Mercury’s actual vocals from the Queen archives, but that wasn’t always practical β some scenes demanded a stunt vocal-cord performer.
The film’s creators have conceded that the sung vocals in the movie are largely by Mercury and Martel, although they haven’t broken down the specifics of who contributed what; doing so might distract from Malek’s performance.
Here’s Martel singing We Are The Champions:
He even looks a little bit like Mercury, don’t you think? Perhaps more impressively, here’s Martel doing Bohemian Rhapsody:
Earlier today, Grace and trailer editor Jeff Yorkes uploaded a trailer they created for all 10 movies in the Star Wars franchise: the originals, the prequels, the two new ones, and the Star Wars Stories (Solo and Rogue One). As a trailer, it leaves a lot out, but the pair still make a few connections explicit that the casual fan may have overlooked in the midst of all the light saber & fighter duels.
A site called The Colors of Motion makes single image timelines of the use of colors in movies. They sample frames at regular intervals, choose the average color of each frame, and stack them up. Here’s their representation of Blade Runner 2049:
If you click through on specific films, you can see the actual screencaps used for sampling and buy prints.
The Moviebarcode Tumblr pre-dates The Colors of Motion, although they appear to use a slightly different technique: each scene is smooshed into a single vertical line. Here’s Mad Max: Fury Road:
Behind the Curve, now available on Netflix, is a 2018 documentary about the global community of people who believe that the Earth is flat. In this scene at the end of the film (um, spoilers?), a Flat-Earther named Jeran Campanella devises a simple experiment that he claims will prove that the Earth is flat…but very quickly proves the opposite:
Campanella’s reaction: “Interesting. Interesting. That’s interesting.” This is one of two straightforward experiments shown in the film that are devised by Flat-Earthers to prove the planet’s flatness that end up affirming that the Earth is indeed round (or, more accurately, an oblate spheroid).
One of the more jaw-dropping segments of the documentary comes when Bob Knodel, one of the hosts on a popular Flat Earth YouTube channel, walks viewers through an experiment involving a laser gyroscope. As the Earth rotates, the gyroscope appears to lean off-axis, staying in its original position as the Earth’s curvature changes in relation. “What we found is, is when we turned on that gyroscope we found that we were picking up a drift. A 15 degree per hour drift,” Knodel says, acknowledging that the gyroscope’s behavior confirmed to exactly what you’d expect from a gyroscope on a rotating globe.
“Now, obviously we were taken aback by that. ‘Wow, that’s kind of a problem,’” Knodel says. “We obviously were not willing to accept that, and so we started looking for ways to disprove it was actually registering the motion of the Earth.”
Knodel & Campanella are the co-hosts of a YouTube channel called Globebusters (I’m not going to link to it…YouTube’s conspiracy-minded algorithms don’t need any help) where they claim to debunk the Earth’s curvature and heliocentrism as well as discussing how NASA fakes space activities. Their failed experiments don’t seem to have diminished their Flat Earth zeal. One of their recent videos, nearly 4 hours long, is an attempt to “[debunk] the bogus claim that Globebusters proved a 15 degree per hour rotation of the Earth” and another, also almost 4 hours long, is a rebuttal to the “misrepresentation” of their views and experiments in Behind the Curve.
Pitchfork, the once-insurgent, now-venerable music site known for provoking endless debates with its “Best Of” lists, has now weighed in with its list of The 50 Best Movie Soundtracks of All Time.
I like this list; there’s some good choices, and some good copy. (“The Brown Sugar soundtrack is perfect because every time a song plays in the film, it connects directly with Taye Diggs’ outfit,” writes Alphonse Pierre.) However, it is fundamentally incorrect.
Purple Rain is better than Superfly;
A Hard Day’s Night is better than Help!;
Good Will Hunting is not very good;
Goodfellas is better than Boogie Nights;
Malcolm X (which isn’t even on the list) is as good as if not better than Do The Right Thing;
The Royal Tenenbaums is better than Rushmore.
All of the choices here are evidence of the Pitchfork Problem, which is that it tries to treat indie rock, hip-hop, techno, classic rock/pop, and soul/R&B music all at once, but winds up juggling them all in a way that tends to privilege first one genre, then another. Usually 90s indie rock (which was the site’s original bread-and-butter) will always win out.
Trainspotting is third on the list, which both reflects this bias and (in my opinion) is basically accurate.
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