We both suspected that she really was an alien at different points during the movie.
When Teddy exploded in the wardrobe, I wondered for a moment whether either he’d detonated the vest on purpose in an attempt to kill the aliens on whatever ship he thought he was being teleported to, or she’d somehow triggered the vest to trick him. The latter theory was ruled out by the fact she probably wouldn’t have done that in her actual teleportation wardrobe.
I increasingly hate computers and the world inside them that my brain is trapped inside of. That said, here are some things about computers. Let’s be practical, with another resource to get you to stop screwing up shell scripting. Once you’ve figured that out, why don’t you train an AI homunculus to reflect your own neuroses back at you, and start a conversation? It’s time for a vibe shift.
The unfortunate truth is that the digital world is the real world is the digital world. Culture and reality do not reside cleanly in a single realm; they slosh back and forth (an ass smashing into an ass, forever). The seemingly rigid schemas and structures in computing are in fact as plastic as our human messiness demands they be. As such: the definitive guide to vaporwave text encoding.
Moving to a new country with a new currency, one of the things we’ve been thinking about is, “is it cheaper?” It’s a very intangible thing. I’m too stupid to do quick currency conversions in my head, I’m earning a different amount of money (is it more, is it less, yes!), and different kinds of costs work out very differently. Recently we had an incident with an outrageously expensive (or was it?) iceberg lettuce from Lidl, a budget supermarket, 2€! Unlimited metro usage is 29€ a month (until it possibly doubles in a couple of months, or doesn’t). We’re getting a new apartment that is twice the size of our apartment in London and more than I’ve ever paid for a place to live, but it’s not twice as expensive as that place in London.
I rewatched lots of Pixar shorts the other night. So much of Pixar’s storytelling is fixating on parenting, growing up, child development. Also it seems like each Pixar short is some kind of experiment in animation or storytelling.
A great example is Piper, the story of a sandpiper on a beach learning to find shells in the sand. The animation of the surf, and the sand with all its different consistencies and levels of water saturation is amazing. Also, there’s experimentation with really pushing the virtual camera’s naturalism. There’s a shallow depth-of-field to emulate a macro lens like we’re used to seeing in nature photography of small subjects; it helps us get a sense of scale. When the subjects move quickly and suddenly, the frame struggles to catch up as if a camera operator on the beach has been take off-guard. The focus is sometimes over-pulled and brought back, implying a human hand on the dial trying to keep up with the action.
We watched Boys State this week. It’s a documentary that follows a cohort of Texan teenage boys going through an intense one-week political bootcamp at the Texas state capitol. They’re divided randomly into two parties*, given lessons in the state constitution, and then they run a compressed set of elections for party chairmen, gubernatorial candidates, and ultimately for state governor.
I really enjoyed it, though I felt myself predictably enamoured with the charismatic and thoughtful liberals Steven and René. Conversely, I found myself predictably horrified with the mini-demagogue-to-be Robert, and the Steven Miller Jr. in Ben Feinstein.
“I’m not saying we wouldn’t get our hair mussed,” Buck admits while cycling through facts and figures about casualty rates in the event of a Russian tactical strike. This line—and many others in Kubrick’s masterpiece—have been invoked in recent weeks in the context of a very different sort of international catastrophe and its dubiously motivated overseers; this currency speaks to the timelessness of Dr. Strangelove’s vision even as everything in it is rigorously specific to the mid-’60s: the wryly sacrilegious use of Vera Lynn’s World War II standard “We’ll Meet Again,” a song dedicated to British soldiers leaving their loved ones, to soundtrack a mushroom cloud; the Playboy magazines strewn in the cockpit of the B-52 bomber; the political power vacuum in which the lack of a Kennedy-esque stalwart prefigures mutually assured destruction. But if Kennedy is Dr. Strangelove’s structuring absence, Scott’s jowly, Southern-fried shtick as General Turgidson manifests a weirdly prescient riff on LBJ, who’d shortly be advocating his own callous calculus during the onset and development of the Vietnam War.
While Bobby, the never-married protagonist of “Company,” would seem at first blush to have little in common with the divorcing Charlie in “Marriage Story,” Driver found both men had a stubborn unwillingness to really confront themselves. When “Marriage Story” begins, Charlie’s wife, Nicole (Scarlett Johansson) has moved on and is moving out, but it takes Charlie ages to realize that things will never go back to normal, and that he is now shouldering a significant loss.
“He can’t name the thing, he can’t express it,” Driver said. “Only through an abstract way can he process it and grieve.”
