Quotulatiousness

October 11, 2014

“[French] society is corrupted and doesn’t have any moral principles”

Filed under: Europe, Media — Tags: , , , , , — Nicholas @ 10:47

The Guardian‘s Catherine Shoard on the reception Gérard Depardieu received from a “conservative” Russian politician:

Gérard Depardieu’s move to Russia had the effect of making the actor repent sexual activities conducted in Europe, a conservative Kremlin politician has said.

Reacting to the publication of Ça s’est fait comme ça, Depardieu’s memoir in which he discusses stints of employment as a grave robber and a male prostitute, Vitaly Milonov expressed sympathy for the actor.

“It wasn’t easy for him in France,” he told Russian newspaper MK. “There, society is corrupted and doesn’t have any moral principles.”

“I view Gérard’s book as sort of repentance, confession of old sins. Now that he breathed in the purifying air of Mordovia, all that filth left him. He sincerely repents what he was forced to do in his youth in France. He wants to live in a new way, without all that filth.”

September 13, 2014

Cinematic fights and actual hand-to-hand combat

Filed under: Media — Tags: , — Nicholas @ 00:02

I almost always have issues watching sword fights in movies or on TV, because I know a little bit about how to use a sword. I’ve actually demonstrated to actors a few of the differences between what looks great on stage and what would happen if someone tried that flashy stage move in a real swordfight. I haven’t done any real training in unarmed combat, aside from a few brief introductory sessions in boxing, judo and Taekwondo as a youngster, but I’ve long suspected the same general rule applies to movie fisticuffs. Guest-blogging at Charles Stross’s blog, Tricia Sullivan says if anything I’m underestimating the unreality of TV/movie fighting:

In my first post of this series I said I would talk about the depiction of personal combat in contemporary media. What I find most interesting here is the tendency to conflate stage-fighting with real fighting, and I am particularly impressed by the foolishness of movie-makers — who are themselves illusionists — when they are tricked by the illusionism of the martial arts into thinking they are showing something ‘real’ when in fact they are showing a martial art with only a tangential relationship to fighting

[...]

In a high-stress situation where a lot of sensory information is coming in very fast, the visual cortex can’t keep up. The brain has to make a guess about what’s going to happen next based on your opponent’s position and the early ‘cue’ at the beginning of a movement. This guess is informed by your past fighting experience; the more fighting experience you have, the better the guess. To my knowledge, the current understanding is that the myelination in cortical areas dealing with sensory information and motor response are only layered through specific experience, and there’s science suggesting that with increased practice, visual tracking will still take place after the response is initiated, enabling an expert to deal with a late correction. This offers some explanation for how a great tennis player can return a seemingly impossible serve.

But the point is that all of these responses are happening below the level of conscious thought; in fact, conscious thought would interfere with the sensorimotor response. A fighter may have a general plan, and metacognitively they may be watching themselves in action–and they will surely be anticipating their opponent moment-by-moment based on what is known about how the other fighter has behaved so far. But fighters don’t set up and run an extended series of moves like this any more than Federer looks at Nadal and says to himself, ‘There can be no emotion. Place service so that opponent returns ball three inches from the line on left side of court. Be waiting there for return of serve. Return opponent’s forehand, run to net sticking racquet out at angle of 60 degrees to hit line shot into back left corner. Dive across net to meet return and cunningly place ball six inches out of reach.’ Just no.

Of course I’m exaggerating. A little. The thing is, this scene isn’t just some fluff used in a movie for fun. It’s representative of the way self-protection and martial arts are often taught, with a ‘you do this, I do that’ approach that centers on pulling the correct technique out of a hat in answer to an incoming technique, often in series. A fight is too holistic and it changes too dynamically to reduce it to a game of playing cards. The approach is misleading and movies like this only serve to reinforce the misinterpretation of what’s going on in a fight.

August 13, 2014

Lauren Bacall

Filed under: Media, USA — Tags: , — Nicholas @ 07:57

In the Telegraph, Tim Stanley says we’ve lost one of the last of the true Hollywood stars:

Lauren Bacall and Humphrey Bogart in the trailer for the film Dark Passage, 1947 (via Wikipedia)

Lauren Bacall and Humphrey Bogart in the trailer for the film Dark Passage, 1947 (via Wikipedia)

Lauren Bacall the actor has died, a sad thing for sure. But Lauren Bacall the star will live on forever. Because that’s what stars do. They burn bright for millennia.

Born Betty Perske, a Jewish girl from the Bronx, she was spotted by Howard Hawks’ wife on the cover of Harper’s Bazaar and invited to Hollywood to screen test. Bacall thought Hawks was impressive but scary — it didn’t help that his method of breaking the ice was to make anti-Semitic jokes. Hawks thought Bacall attractive but lumbered with a high-pitched voice that was all wrong for the sophisticated quick-fire dialogue he liked to write. So she drove her car up into the Hollywood hills and practiced speaking low and soft by herself. Next she had to improve her demeanour — and for Hawks this meant turning from a shy girl into a sexually confident one. When she couldn’t get a ride home from a party at Hawks’ house, he told her that men went for women who insulted them. She insulted Clark Gable and, right on cue, he offered to drive her home.

[...]

What defined that character? Friedrich calls it “insolence”. Bacall always played the girl who answered back, the one who had the temerity to ask if a man knew how to whistle. That’s Hollywood censor shorthand for if they knew how to make love. Bacall never went out of her way to please no man; men had to please her. Via a series of noir box office hits, Betty Perske ascended into the pantheon and took the slot of the “sophisticated seductress”. For Golden Age Hollywood dealt not in actors or mere parts, but in stars and archetypes. At any one point there had to be a tough guy, a wise guy, a villain, a maverick. Among women there were the betrayed wives, vamps, innocents and party girls. The name of a star on a movie poster told you everything you needed to know about what would happen in that movie — and you went to see it because the last 48 made in that vein were so darn good. This is the nature of star power, the ability to evoke something with just a name in lights.

July 24, 2014

“Never give up, never surrender!” – the oral history of Galaxy Quest

Filed under: Humour, Media — Tags: , , , — Nicholas @ 11:28

Hands down, my favourite Star Trek movie was Galaxy Quest:

And now, MTV has the story behind the story:

Galaxy Quest: The Oral History
By Grabthar’s Hammer, the sci-fi comedy classic is turning 15. Here’s the untold story of how it got made.

Galaxy Quest was only a modest success in theaters (pulling in $71 million at the domestic box office). Over time, however, it has become a cult favorite – a film virtually everyone loves, one of those flicks you see when flipping channels and immediately get caught in its tractor beam. (Not that the movie has tractor beams – that would be too close to Star Trek.)

In honor of the almost 15th anniversary of the movie (it was released in December, 1999), MTV News checked back in with the entire cast and creators of Galaxy Quest: Tim Allen as the obnoxious Captain; Alan Rickman as the humiliated thespian relegated to rubber makeup; Sigourney Weaver, an actress given nothing to do but show her cleavage; Daryl “Chill” Mitchell, the former child star. Tony Shalhoub, playing a stoner who is supposed to be the sharp chief engineer; Sam Rockwell as some guy named Guy; and many, many more. What we came away with is, in the cast and crew’s own words, the story of how the crew of the Protector came together – and how things changed as the movie grew to be the phenomenon it is today.

[...]

Rockwell: Sigourney Weaver changed with that wig.

Rickman: I remember Sigourney walking around saying that she was experiencing a new world with the blonde wig.

Johnson: Sigourney loved her extenuated bosom and blonde wig. She’d sometimes leave at the end of the day dressed up like that. She’d just go to her hotel with the enhanced breasts and padding and all squeezed in and it was fun.

Weaver: Blondes definitely have more fun. I loved being a starlet. I miss my breasts, I miss my blonde hair, I miss my insecurity.

[...]

Rockwell: I wanted to ennoble the coward archetype. I thought of the best cowards in cinematic history, like John Turturro in Miller’s Crossing. When we did the shuttle scene I drank four cups of coffee and downed two Excedrin. I wanted to be so hyped that I would have a nervous breakdown on the shuttle. I don’t know if it worked but I was very hyper and freaking out. I think I had a couple beers to come down.

Mitchell: Sam Rockwell in this movie, man. I die every time. “Did you guys ever WATCH the show?!?”

Johnson: “Did you guys ever WATCH the show?!?” That’s my favorite moment.

Rockwell: Guy is a cheeseball. And a Trekkie geek. But he’s a coward. My template was Bill Paxton in Aliens mixed with Michael Keaton in Night Shift.

June 8, 2014

Regulating cosmetics

Filed under: Business, Government, Health — Tags: , , — Nicholas @ 11:43

Jeffrey Tucker discusses the coming crash in the world of make-up:

The organization Campaign for Safe Cosmetics doesn’t just want you to be able to have new choices about the makeup or other products you buy. It wants the FDA to be able to ban and recall products. It will decide for you what is and isn’t safe.

And it is prevailing against the industry itself, which has no interest whatsoever in selling unsafe products, but precisely the opposite. The industry is already ridiculously overregulated.

What’s the excuse? The usual nonsense about safety and security and health, along with predictable headlines about how your shampoo is giving you cancer. There is a crowd of lobbyists backed by regulators who seem to believe that all of modernity is corrupting and horrible and must be reversed until we are living in the most-primitive state of being, sans makeup, of course.

In other words, cosmetics are going the way of everything else. The quality of the product will be depleted by regulations, just as with indoor plumbing, electricity, cars, light bulbs, soaps and gas-powered tools. Entrepreneurship will be hindered and truncated. Innovation will stop. In a few years, you will wonder: Whatever happened to makeup and deodorant and hair spray that actually works? Prepare: The end is near!

Already, I’ve heard many women complain that cosmetics today are far worse than they were 10 years ago. The colors don’t behave they way they should, and color is mainly what the FDA currently controls. I don’t doubt that whatever problems exist are due to government regulations. Whenever you see consumer products that decline in quality to the point that you have to pay vastly more for something of good quality, or that high quality suddenly becomes completely unavailable, you will find the hand of government if you look hard enough.

May 31, 2014

Shock, horror! Ezra Levant’s publisher took government grants!

Filed under: Business, Cancon, Media — Tags: , , , , , , — Nicholas @ 09:21

In the Globe and Mail, Simon Houpt looks at the rise and rise of Ezra Levant and finishes with what he clearly thinks is a “gotcha” moment:

… for a man who seems to have studied his American forebears so extensively, he has failed utterly to learn how to mimic the persuasive charms of a Bill O’Reilly or the wackadoodle authenticity of a Glenn Beck. He has a genuinely nasty streak that flares up in his attacks – on the Roma people, for example – that have landed him in hot water with the Canadian Broadcast Standards Council.

He seems less interested in free speech than in listening to his own speech. Perhaps fatally, he has no visible sense of humour about himself.

In Groundswell, he has great fun mocking one of his favourite targets: Hollywood stars, whom he accuses of gross hypocrisy for promoting environmental causes while flying around in private jets. He points to Matt Damon’s anti-fracking drama Promised Land, which was backed in part by financing from the United Arab Emirates. And he mocks Josh Fox, the director of the anti-fracking documentaries Gasland and Gasland 2, for being a one-time New York-based actor.

Yet there is more than enough hypocrisy to go around: Levant is a critic of government support whose books have been published by a company that took plenty of government money until a recent change in ownership precluded the practice; a free-marketeer who works for a network that spent months last year trying to convince regulators to let it extract a monthly payment from every TV subscriber in the land.

At one point in Groundswell, Levant suggests activists are primarily driven by the salaries they receive. It’s a worldview that is so breathtakingly cynical that we’re left to wonder if Levant himself would blithely change his position for a fatter paycheque. If true, what kind of free-speech champion is that?

As far as the publisher collecting government money … most of the Canadian publishing business does that. It’s an unusual publishing company that manages to avoid suckling at that particular teat. Sun TV’s campaign for a better placement in cable TV packages certainly didn’t show the company in a good light, but the regulators have deliberately created a two-class system for cable, with the favoured channels required in each cable offering (a subsidy-by-another-name) and the disfavoured ones excluded. Sun TV could have taken the high road, but they’d have gone out of business for no purpose, and it wouldn’t have changed the system at all. (Full disclosure: I don’t watch Sun TV, although I have read a couple of Levant’s books.)

May 12, 2014

Reason.tv – Trigger Warnings, Campus Speech, and the Right to Not Be Offended

Filed under: Media, Politics, USA — Tags: , , , , — Nicholas @ 16:55

Published on 8 May 2014

“It’s really not anyone else’s business to tell someone when they are mentally and emotionally ready to deal with things,” says Bailey Loverin, a University of Santa Barbara (UCSB) junior who authored a resolution to mandate that professors issue “trigger warnings” before presenting material that might trigger memories of past traumas in students.

Feminist and social justice blogs popularized the concept of the trigger warning, with writers encouraging each other to label posts that might trigger flashbacks to sexual assault or domestic abuse. As the popularity, and scope, of the trigger warning idea grew, some bloggers began listing potential triggers, ranging from rape and violence and suicide to snakes and needles and even “small holes.”

April 26, 2014

QotD: Acting

Filed under: Humour, Media, Quotations — Tags: , , , — Nicholas @ 08:55

Of all actors, the most offensive to the higher cerebral centers is the one who pretends to intellectuality. His alleged intelligence, of course, is always purely imaginary: no man of genuinely superior intelligence has ever been an actor. Even supposing a young man of appreciable mental powers to be lured upon the stage, as philosophers are occasionally lured into bordellos, his mind would be inevitably and almost immediately destroyed by the gaudy nonsense issuing from his mouth every night. That nonsense enters into the very fiber of the actor. He becomes a grotesque boiling down of all the preposterous characters that he has ever impersonated. Their characteristics are seen in his manner, in his reactions to stimuli, in his point of view. He becomes a walking artificiality, a strutting dummy, a thematic catalogue of imbecilities.

There are, of course, plays that are not wholly nonsense, and now and then one encounters an actor who aspires to appear in them. This aspiration almost always overtakes the so-called actor-manager that is to say, the actor who has got rich and is thus ambitious to appear as a gentleman. Such aspirants commonly tackle Shakespeare, and if not Shakespeare, then Shaw, or Hauptmann, or Rostand, or some other apparently intellectual dramatist. But this is seldom more than a passing madness. The actor-manager may do that sort of thing once in a while, but in the main he sticks to his garbage. [...]

It is commonly urged in defense of certain actors that they are forced to appear in that sort of stuff by the public demand for it that appearing in it painfully violates their secret pruderies. This defense is unsound and dishonest. An actor never disdains anything that gets him applause and money; he is almost completely devoid of that aesthetic conscience which is the chief mark of the genuine artist. If there were a large public willing to pay handsomely to hear him recite limericks, or to blow a cornet, or to strip off his underwear and dance a polonaise stark naked, he would do it without hesitation and then convince himself that such buffooning constituted a difficult and elevated art, fully comparable to Wagner’s or Dante’s. In brief, the one essential, in his sight, is the chance to shine, the fat part, the applause. Who ever heard of an actor declining a fat part on the ground that it invaded his intellectual integrity? The thing is simply unimaginable.

H.L. Mencken, “The Allied Arts: The Cerebral Mime”, Prejudices: Second Series, 1920.

April 23, 2014

“[W]hat most ‘studies’ really ‘show’ is that most ‘studies’ are crap”

Filed under: Media — Tags: — Nicholas @ 08:48

Kathy Shaidle‘s investigation of the “science of cool”:

Then something calling itself “science” appeared to offer me an in. Alas, what most “studies” really “show” is that most “studies” are crap. This latest one proved the rule that “social science” is to the real thing what Anna Anderson was to the Romanovs.

The Week promised to teach us “How To Be Cool, According to Science,” relying upon the findings of one Olivia Fox Cabane. Ms. Cabane is not, however, a scientist (of either the “social,” “hard,” or even “Christian” varieties), but an “executive charisma coach for Fortune 500 companies.”

So shame on you, The Week.

Scientific or not, does Ms. Cabane’s grand unified theory of “cool” withstand scrutiny?

At first, she’s persuasive, if prosaic. “Cool,” she declares, “doesn’t try too hard.” In everything — words and deeds — less is more.

Cabane insists that robotically calm, collected mannerisms and Zen master body language are the outward and visible signs of inward and spiritual cool.

A cool individual, Cabane continues, exudes confidence. James Bond, she points out, neither fidgets, nor does he plead.

Tellingly, Fleming’s 007 is the only “proper noun” example she serves up, maybe because a moment’s reflection on other archetypes of cool reveals the flaws in her theory.

Placed side by side, James Cagney fits Cabane’s criteria for cool far better than Humphrey Bogart. Even when merely striding cockily down a sidewalk (then dodging machine gun fire), Cagney’s background as a professional dancer was evident in almost every film he made, not just in Yankee Doodle Dandy. His sharp, frugal gestures and bits of business also live up to Cabane’s bonsai tree ideal. (When you learn that Malcolm McDowell based his performance as “Alex” on Cagney’s screen persona, you never watch A Clockwork Orange the same way.)

We are often surprised to discover how short certain charismatic performers really are, or were. (I still refuse to accept that Freddy Mercury was anything less than 6’ 1”.) The bantamweight Cagney, on the other hand, always seemed short — but it didn’t matter. That alone places him in an even higher stratum of cool, one occupied by a very few, including Cagney’s rival, Humphrey Bogart.

April 1, 2014

Wranglers of Death official trailer

Filed under: Humour, Media — Tags: , , — Nicholas @ 12:24

Published on 1 Apr 2014

In a last-ditch effort to save their family, a group of cowboys drive a dangerous herd to Hollywood.

March 30, 2014

Alec Guinness, my goodness!

Filed under: Britain, Media — Tags: , — Nicholas @ 09:50

Mark Steyn’s Saturday movie column is about the great Sir Alec Guinness:

Eight Alec Guinness roles, from one film, Kind Hearts And Coronets (1949)

Eight Alec Guinness roles, from one film, Kind Hearts And Coronets (1949)

In London one hundred years ago this week — April 2nd 1914 — Sir Alec Guinness, CH, CBE entered the world as Alec Guinness de Cuffe. His mother was Agnes Cuff, and the Frenchification of her maiden name seems to have been an attempt to compensate for the blank space on the birth certificate where “Name of Father” should appear. “Alec Guinness” were his two Christian names, leading to periodic suggestions that his pa was a member of the Guinness family. Sir Alec himself took the view that he had been sired by a Scottish banker who turned up at the flat once in a while purporting to be an “uncle” and who paid for his young “nephew” to be educated privately. He was, at least in public, not much interested in his parents, neither the absent nor the present one. From this appropriately vague lineage emerged one of the most versatile British actors of the 20th century, and (via Star Wars) one of the wealthiest.

[...]

His other great military tour de force is as the carrot-topped carouser Major Jock Sinclair opposite John Mills’ by-the-book colonel in Ronald Neame’s Tunes Of Glory. An Ottawa reader who’d “sat through one mess dinner too many” wrote to me a few years ago to say that his all-time favorite Guinness movie line was Major Jock insisting, “Whisky for the gentlemen that like it, and for the gentlemen that don’t like it – whisky!” There’s a lot of Scottish dancing in the picture, and the film itself seems to reel, with Guinness’ blazing orange hair and heeland-flung accent poised brilliantly on a knife-edge of menacing heartiness.

That was unusual for him. I think it was Eileen Atkins who said that Guinness was the only actor who could do absolutely nothing in a close-up and yet you knew what he was thinking. It’s probably closer to the truth to say you knew he was thinking something, and you thought you knew pretty much what it was, but there was always the possibility that something more might be going on. A character like Colonel Nicholson has to be complex, or he simply doesn’t exist, and Guinness was a master at hinting at complexity, even when playing a piece of cardboard such as Obi-Wan. In an age of soul-barers, when Daniel Day-Lewis does Hamlet to work through his feelings about his father, Guinness remained a kind of Gypsy Rose Lee of great actors: he exposed very little, and thereby suggested that what lay underneath must be a real knockout. By the time he got to John le Carré’s George Smiley, he had mastered a unique skill: scene-stealing blankness, nicely caught on one of the early episodes of Whose Line Is It Anyway? when Jonathan Pryce, out of the blue, goes into a sly Guinness take-off — all glances off and an enigmatic smile.

He made his screen debut eight decades ago, in Evensong (1933). No one noticed. So he tried again with David Lean, as Herbert Pocke in Great Expectations (1946) and Fagin in Oliver Twist (1948), two superb performances. Then came his finest group of pictures — the Ealing years, beginning with Kind Hearts and Coronets (1949), in which he played eight different members of the d’Ascoyne family bumped off, in succession, by Dennis Price. Poor old Price actually gives the best performance, but no one cares: Kind Hearts is a novelty turn for Guinness, yet the film has a harder edge than his other Ealing films. To contemporary moviegoers, Ealing is a far more remote world than any in Star Wars — for a long time, the films were hard to get hold of and rarely aired on TV — but they show off brilliantly a youngish actor of unpromising looks but boundless inventiveness.

He had, by all accounts, a lower regard for his art than the other theatrical knights, but it served him well. And, unlike Olivier or Gielgud, Alec Guinness pulled off a unique double: he remains the only man in the galaxy to be knighted both by Her Majesty The Queen and the Jedi.

March 27, 2014

The political divergent … who must be stopped

Filed under: Media, Politics, USA — Tags: , , , , — Nicholas @ 09:07

Nick Gillespie uses the current film Divergent as a springboard to discuss why Rand Paul’s “politically divergent” message is so unwelcome to the mainstream media who cheer for team red or team blue:

It turns out that Divergent isn’t just the top movie in America. It’s also playing out in the run-up to the 2016 presidential race, with Sen. Rand Paul, the Kentucky Republican, in the starring role.

Based on the first volume of a wildly popular young-adult trilogy, Divergent is set in America of the near-future, when all people are irrevocably slotted into one of five “factions” based on temperament and personality type. Those who refuse to go along with the program are marked as divergent — and marked for death! “What Makes You Different, Makes You Dangerous,” reads one of the story’s taglines.

Which pretty much sums up Rand Paul, whose libertarian-leaning politics are gaining adherents among the plurality of Americans fed up with bible-thumping, war-happy, budget-busting Republicans and promise-breaking, drone-dispatching, budget-busting Democrats. Professional cheerleaders for Team Red and Team Blue — also known as journalists — aren’t calling for Paul’s literal dispatching, but they are rushing to explain exactly why the opthalmologist has no future in politics.

A national politician who brings a Berkeley crowd to its feet by attacking NSA surveillance programs and wants to balance the budget yesterday? Who supports the Second Amendment and the Fourth Amendment (not to mention the First and the Tenth)? A Christian Republican who says that the GOP “in order to get bigger, will have to agree to disagree on social issues” and has signaled his willngness to get the federal government out of prohibiting gay marriage and marijuana?

Well, we can’t have that, can we? Forget that Paul is showing strongly in polls about the GOP presidential nomination in 2016. “He is not doing enough to build the political network necessary to mount a viable presidential campaign,” tut-tuts The New York Times, which seems to be breathing one long sigh of relief in its recent profile of Paul. “Rand Paul’s Plan to Save Ukraine is Completely Nuts,” avers amateur psychologist Jonathan Chait at New York.

March 19, 2014

Dark Dungeons Teaser Trailer

Filed under: Gaming, Humour, Media, Religion — Tags: , , — Nicholas @ 00:01

Published on 18 Mar 2014

Dark Dungeons brings Jack Chick’s 1984 masterpiece to the silver screen. Visit http://darkdungeonsthemovie.com/ for exclusive updates!

Debbie and Marcie arrive at college unaware of the dangers of RPGing. They are soon indoctrinated into this dangerous lifestyle where they face the threat of learning real life magical powers, being invited to join a witches’ coven, and resisting the lure of Ms. Frost, a vile temptress of a GM. But what peril must the two friends face when they stumble across the Necronomicon and their fantasy game becomes a reality game? Find out in Dark Dungeons!

March 4, 2014

“Comedy turned inward and became domesticated [and] smaller”

Filed under: Humour, Media, USA — Tags: , , , — Nicholas @ 08:41

In the New York Post, Kyle Smith discusses the comedians of the 1970s and their modern day successors:

As Chevy Chase might have put it on Saturday Night Live, Harold Ramis is still dead. And with him has gone the finest era of comedy: The ’70s kind.

Ramis was as close to the king of comedy as it gets, as a writer, director and occasional sidekick for Animal House, Meatballs, Caddyshack, Stripes, Ghostbusters, Back to School, National Lampoon’s Vacation and Groundhog Day.

[...]

Taking off with the movie M*A*S*H in 1970 — a huge hit that grossed $450 million in today’s dollars — and its spinoff sitcom, ’70s comedy ruled from an anti-throne of contempt for authority in all shapes. College deans, student body presidents, Army sergeants and officers, country-club swells, snooty professors and the EPA: Anyone who made it his life’s work to lord it over others got taken down with wit.

When the smoke bombs cleared and the anarchy died, comedy turned inward and became domesticated. It also became smaller.

The Cosby Show and Jerry Seinfeld didn’t seek to ridicule those in power. Instead they gave us comfy couch comedy — riffs on family and etiquette and people’s odd little habits.

Now, in the Judd Apatow era, comedy is increasingly marked by two worrying trends: One is a knee-jerk belief, held even by many of the most brilliant comedy writers, that coming up with the biggest, most outlandish gross-out gags is their highest calling.

H/T to Kathy Shaidle for the link.

February 20, 2014

The Lego Movie – blatant anti-authoritarian propaganda

Filed under: Liberty, Media — Tags: , , — Nicholas @ 08:48

Anton Howes says that the recently released film is sheer individualistic and capitalistic propaganda:

The Lego Movie shows us a compelling dystopian world of conformity, regulation and authority where everyone “must follow the instructions” or be “put to sleep”. It is a tale of the battle between the chaotic, creative destruction of freedom, and the rigid, forceful regulation of bureaucracy.

The run-of-the-mill protagonist Emmet is blatantly shown to be brainwashed by repetitive and generic tv shows, corporatist celebration days like Taco Tuesdays, and a perpetually playing propaganda anthem called “Everything is Awesome” with clearly collectivist undertones: “everything is cool when you’re part of a team”. He works with other construction workers to tear down the “weird” and diverse buildings and replace them with generic ones.

But it gets so much better. The dystopian dictator’s position as both the CEO of the Octan Corporation and President of the World perfectly encapsulates the problems with corporatism and monopolies on force. Indeed, his evil plan is stultifying regulation taken to the extreme: he wants to use superglue to literally stick everything permanently into the “perfect” position, relying on a robotic army of “micro-managers” to make sure that everything is exactly how he wants it to be before being stuck into place. There could be no clearer metaphor for the perils of intruding technocrats.

Older Posts »
« « Anti-tobacco campaigners – “a great bunch of puritanical Cnuts”| Even when he does nothing, Justin still gets great press » »

Powered by WordPress