Reblog If Youre Still Not Over The Library Of Alexandria

My review of Time Heist.

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alizalichtxo

I hope everyone will read this and share it. I posted the full piece. Hamza Howidy is a Palestinian from Gaza City. He is an accountant and a peace advocate. I follow Hamza on X and his tweets are very important. Unfortunately, he is being blocked. In his words, “But the protesters aren’t interested in peace. Some of the groups have been blocking Palestinian peace activists like me—and I am from Gaza, the very place they claim to care about! Instead of blocking peace activists, they should be inviting us to join these protests and guide them in the right direction—a place without hatred with a focus on calling for the release of the hostages who have been held captive by Hamas for more than 210 days.”

Launch the nukes, humanity deserves it.

We’ve Always Hated Girls Online: A Wayback Machine Investigation

Searching for a teen girl who was once internet famous for her coding skills, a former fan uncovers a story of harassment.

It wasn’t the graphics, or the jokes, or the N*Sync lyrics people had a problem with. It was that view counter, at the bottom of her home page. That view counter was into the hundreds of thousands, and that made some people very, very angry.

It’s an interesting reminder of how small the internet was in the late 90s. That this middle school girl could reach so many people by simply understanding how to make a website look good is remarkable. Her website truly didn’t have anything spectacular or unique or even that interesting on offer. Her popularity was based almost solely on her design abilities, and that is damn impressive. She was at the forefront of a revolution none of us were even aware was happening, and she was internet famousbecause of it. “I started it a long time ago, when the Internet was like slowly becoming popular, and webpages were like…whoa,” she wrote on her FAQ page. “Heheh so I think my page was like ‘extraordinary’ then, and it got people kinda hooked on it…now its just like any other webpage, but people come to it anyways.”

People came, in droves, and they signed her guestbook, and in their messages they berated Sara for her popularity. She wrote in her diary about the people who were harassing her about her extraordinarily high page views. She lamented (half-heartedly) that she wished she’d never added a view counter. She defended her popularity, and then down-played it, and then defended it again. She angrily, reluctantly, offered advice to other webmasters on getting views for their own pages: sign other people’s guestbooks, update often.

And then, the next entry, the mea culpa. The apologies for getting angry, for writing “all that stuff.”

If the internet is an archive of the things we make then it’s also an archive of the abuse we endure there, and our apologies for feeling outraged.

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A beat after scissors, with no word to go on.

For statistical purposes, I'm from the Rockies.

also we came to a WILD realization tonight: when playing rock, paper, scissors, people from the east coast and midwest go on SHOOT, and people from the west coast (who are insane) go on scissors. like WHY

My review of Kill the Moon, in which, to the surprise of a disturbing number of characters, there is gravity on the moon.

I’ve always had a fascination with early Antarctic Exploration. But I’ve mostly sidestepped the related early Arctic exploration except where the two directly intersect; now I’m reading Furthest North, which goes through the early exploration (from the 1500s to 1926), and focuses on telling the stories through eyewitness accounts. It's a great book, but man, arctic exploration is so much more depressing than Antarctic exploration.

Like, the usual Antarctic exploration story will be something like, “The 26-man expedition lost 1 man when he was driven mad by the sunless winter and died for no clear medical reason, and 1 man to scurvy because he refused to eat seal meat, but the other 24 safely returned home, having mapped huge previously unknown areas and achieved immense scientific research. And also there were several delightful stories of penguin encounters, and here's a photo of the most badass member of the crew adorably snuggling some puppies.”

And the usual Arctic story will be, “25 men laboriously dragged their ship across the endless fields of ice to find the legendary Open Arctic Ocean. At first, they somehow managed to make 15 miles a day, but due to the southward flow of the ice, they only gained a net 17 yards per day. As they one-by-one got scurvy, they started losing ground. Things took a turn for the worse when the captain suddenly died of a mysterious illness; a century later, his body was found buried in the ice, and the mass levels of arsenic suggests he may have been right when, in his dying words, he accused the expedition’s doctor of poisoning him because they were writing love letters to the same girl back home. Without their navigator, they finally gave up and attempted to drag the ship back to the open sea so they could get back to land. But just as they were approaching open water, the ice trapped the ship and crushed it. They reverted to their lifeboats, one of which disappeared in a light fog, never to be seen again. The exhausted, undernourished, fatally sick final survivors made it to a desolate island. There they all slowly starved to death while the one healthy man among them was three days’ travel away, trying and failing to communicate to the confused Siberians he’d found that there were people who urgently needed rescue. He finally moved onto a second village, where one guy spoke German for some reason, and he was able to mount a rescue party. They arrived two days after the last journal entry of the expedition leader:

“ ‘October 28 - Hungry. Ate last of the boots yesterday. Feet cold. Spirits high.’ “

Zach Snyder Sandwich

I originally posted this on the cracked forums in a discussion about the new Justice League movie, in particular the very mixed reaction to Man of Steel and Zach Snyder's work in general.

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I think the things that make Snyder both loved and reviled by such a variety of people can be explained in a metaphor. Movies are like sandwiches. There are basically three layers on which movies work:

Style. The visuals, the music, the pacing, the swell of emotion, etc. This is the bread – it won’t singlehandedly save a bad sandwich/movie, nor is it absolutely necessary that it’s brilliant, but it adds a lot to the experience, and some people experience a movie primarily like this. 

Text. What the characters actually say and do, the story itself, and so forth. This is the meat, cheese, vegetables, condiments, all the substance. The actual quality and depth of the dialogue belongs here. 

Subtext. What the writer/director is actually saying under the surface, whether intentional or not. This is the nutritional content. You usually have to be looking for it to properly appreciate this level of storytelling (or sandwich making), but it makes it a richer experience. 

Most people experience movies in a mix of the first two levels. But people who really love movies and take the time to examine them tend to appreciate the third level a lot more. And different people care about different things. The film critic known only as Vern is the guy who wrote Seagalogy, which examined the movies of Steven Seagal for their themes, both individually and running, and took them seriously and critically as art. (It’s one of the best and most entertaining works of criticism I’ve ever read.) Like many Zach Snyder fans, Vern tends to be most interested in Style and Subtext, and wrote both a positive review and a later counter-post about some of the common arguments against it. The same goes for Phil Sandifer, who wrote an interesting defense of Man of Steel primarily on subtextual ground.

These levels can mix together different ways. Steven Spielberg movies are very consistent: the Style, Text, and Subtext are all doing exactly the same thing, and the result is a very smooth experience, regardless of quality (which is generally excellent).

But you don’t have to be that consistent to make it work. Take the Somewhere Over the Rainbow scene from Face/Off. The Style is beautiful and magical, while the Text is a kid watching a bunch of people getting brutally murdered. Consequently, the subtext is about how the pervasive tragedy and horror of violence affect even those who aren’t involved and may not even understand what’s happening, and the jarring contrast makes this all the more provocative.

Paul Verhoeven is a master of this sort of thing. Robocop, on the surface, is one of the most badass action flicks of the ‘80s. The text strongly resembles an unusually well-done Superhero origin story, with strong characters, memorable dialogue, and taut plotting. But the Subtext is a rich and hilarious satire of American culture that’s constantly criticizing its own story. It's a terrific movie on any of those three levels, but put together they become something truly special. It's like Judge Dredd enacting the life of Christ.

So a Spielberg Sandwich tastes different every time, but it’s always a perfectly balanced mix of ingredients, and it tastes exactly as healthy as it is (which also varies). A Verhoeven Sandwich tastes like junk food, but is surprisingly nutritious. A Michael Bay Sandwich is actually an entire bag of Oreos. The first bite is so delicious, but by halfway through you start to feel sick, by the end you actually are sick, and Heaven help you if you try a Bay marathon.

On those three levels, Zach Snyder is brilliant at Style, very clever at Subtext, but utterly clueless about Text, and ignorant about how the three fit together. Take Watchmen. It’s a gorgeously stylized realization of the comic, and all the rich themes are intact. But the violence (for example) is all wrong; one of the main themes is the awful pointlessness and tragedy of violence, and in the comic, it’s horrifying. That theme is still there, but Snyder shoots it fetishistically, Rodriguez-style, reveling in long fight scenes and beautiful splashes of blood and gore. The result is less provocative than confounding. Like, are we supposed to be having fun, or not? Similarly, the casting seems spot-on, yet the acting is incredibly uneven, because Snyder doesn’t adapt the dialogue to the rhythms that work when spoken aloud, and doesn’t adjust the flaws in the comic. Malin Ackerman got a lot of crap for her performance, but she plays Silk Spectre II perfectly as written. SS2 is a poorly-written character in the comic, spouting comic-book style dialogue.

Or Sucker Punch. It looks great, and thematically it’s an angry and brilliant condemnation of misogyny and sexism, but the characters are one-dimensional, the plotting is video-game level, and it fetishizes the characters too much for the criticism to actually stick correctly.

There’s probably no better representative of the good and bad points of Man of Steel than Jonathan Kent. Stylistically, Snyder’s vision of this small-town Kansas farmer is beautifully realized, full of gorgeous imagery and inspiring-sounding speeches about hope, all climaxing in his mythic death by tornado while saving others. And Kevin Costner pours his heart and soul into the role. But textually, he’s a stubborn jackass who tries to convince Superman to not save people. He dies because he goes back to save the dog, while telling Superman not to save him for no damn reason whatsoever. Meanwhile, the subtext is a provocative condemnation of the concept of small-town middle America being the heartland of the country; it’s turned ultra-conservative, and conservatism has degenerated into moral bankruptcy while loudly proclaiming its morality. So either the American heart is deeply corrupt, or Kansas ain’t in Kansas in more, if you catch my drift. (I’m not sure I catch my drift)

For some people, that imagery combined with Costner’s soulful performance makes the character work. For others, that subtext is intriguing enough to make it worthwhile. For the rest, it’s absolutely infuriating for obvious reasons – you hate him for being awful, and you subconsciously hate him for making the story so slow and pointlessly grim.

And, more to the point, doing all three of those together just doesn’t work. He can’t be the inspirational heart of the movie, and one of the principal antagonists, and also a satirical take on American Conservatism, while having anything remotely to do with god-like aliens punching each other over whose genocide is the morally correct one. The other problems largely fall into that.

So some people eat their Man of Steel Sandwich and go, “Man, this bread is off the hook!” (or whatever you kids are saying these days) Others say, “For something with this much junk in it, it’s surprisingly nutritious, and wrapped in a crust that’s quite exquisite.” And everyone else is like, “This is a terrible sandwich! Sure, the bread is good, but it doesn’t go with these ingredients at all! The meat is month-old bologna! The cheese is great (the cheese is Russell Crowe), but it’s only on the first half. There’s way too much lettuce, the tomatoes are bad, and the jalapenos somehow aren’t even spicy! And even if, for some insane reason, you actually want mustard, ketchup, mayo, and salsa on the same sandwich, you don’t drown the entire thing in all of them. By the end, you can’t even taste the bread!”

But hey, at least it’s not a bag of oreos.

Can we talk about Goncharov's sound for a moment please?

I know this is tumblr so we've mostly gotta do extended examination of the themes and fanfic about the gay subtext that's absolutely there between Goncharov and Andrey and the subtext we all wishing was actually there between Katya and Sophia (as I'm sure has been point out, in the original script, it was "You could have been my *son*", not *sun*, which is a whole different mess of subtext, and the other reading only came about because of the lousy closed captioning on the one VHS release). But so much of what makes the film so involving and powerful is the *sound*.

And I know, too, that it's incredibly hard to find a version that sounds good -- I was so lucky to see a 16mm print at a now-closed arthouse theater years ago, and the sound was an absolute revelation over the aged VHS tapes we normally see. But if you can find a version with proper sound somehow, absolutely do, and listen with the best sound system you can. I also saw a version pop up on a local cable channel in Denver of all places once that had pretty decent sound, so I know that version is out there somewhere!

The way each clock and watch ticks different ways that relate to the mood and character. Listen especially to how Goncharov's has a barely-perceptible stutter - it's such an old watch, one he has cherished, but he doesn't have time to repair it. And the way the seconds ticking on it slow just a little each time he looks at it. (My mom's old VHS of it was so worn I couldn't even hear it on her copy when she showed it to me as a kid!)

Or the gunshots! I miss the expressionistic way 70s and 80s movies had handguns sound like cannons to get across how loud and powerful guns are in general, but this was one of the first to really push that idea, and the way you *feel* the impact has been replicated so rarely.

And it's all the more impressive because Walter Murch only had a few weeks to work on this between American Graffiti and The Conversation! It's partly why I believe the rumors that George Lucas actually did a lot of the sound mixing uncredited - not because Murch wasn't good enough to do this, but because there's just no way he had enough... well, enough time.

Anyway, hope at some point this gets a restored release so we can properly appreciate some of the craftsmanship that's been all-but-lost in what few versions are out there.