Sat Sep 05 2020 08:56 "August" Film Roundup: Kind of a weird Roundup this month, made up of movies I forgot to review in earlier months and stuff we actually saw in September. That's because the "July" Roundup had a lot of overlap with August, and then instead of movies we spent the rest of August watching Avatar: The Last Airbender (2005-2008), a really nice kids' show that paved the way for more sophisticated shows like Steven Universe, not to mention its own sequel, The Legend of Korra, which we saw in 2015 and are now rewatching. Time has lost its meaning and there might not be much to show next month, is what I'm saying.

• The Old Guard (2020): Nothing fancy, but a enjoyable action concept leads to a lot of scenes in the Deadpool mold where the heroes can soak up incredible amounts of damage and keep fighting. A conceit similar to the heavy use of tasers in PG-13 movies (and Korra) in that it lets you have more brutality than an audience would otherwise be comfortable with.
• The Rise and Fall of Nokia (2017): Smana wanted to watch this documentary because she was involved in Nokia's mobile-Linux projects of the early 2010s. I enjoyed the parts of the documentary that dealt with the invention of cell phones but I thought it presented the introduction of the iPhone as a fait accompli rather than going into why Nokia's (kinda disorganized) response was inadequate. Not the tone you want to take in a film made to celebrate the centenary of Finland's independence, I suppose.
• Nixon in China (2011): We streamed the Metropolitan Opera's performance for free when they put it up. I really love the libretto but neither of us were wild about the music. We don't really watch opera, so we don't have the reading conventions down. After an Act I which was pretty naturalistic and easy to read, we were totally befuddled by the weird fourth wall breaking in Act II. Act III was not naturalistic at all, but typical of what I think of as opera: people singing out their emotions, you know, like a Broadway musical.

  But I keep going back to Act II, which features the Nixons watching another opera (The Red Detachment of Women). Their reactions to the plot lead them to interfere with the performance, but the opera-within-an-opera seems designed to accommodate and work with such audience interference, because of course it's all part of one big opera and the "audience" is just as much performers as the people they're interfering with. That was really interesting but I imagine that's a feature of Act II of Nixon in China and not something special you get from the art form of opera.

(2) Tue Aug 25 2020 23:07 Hundred Dollar Brain: I just finished Len Deighton's 1966 computer-age thriller Billion Dollar Brain and unfortunately must report that it's much less computery than I'd hoped. Deighton wrote an excellent alt-history, SS-GB, so I'd been hoping for some retro SF or at least sciency fiction, but in this novel the titular Brain is naught but a minor piece of set dressing, to the extent that I kind of want to write the spy novel that seemed to be taking shape and which would have been really groundbreaking had Deighton gone there.

Basically, if you're using a computer with a telephonic voice interface to run a privately-funded spy ring in 1966, there's no guarantee the individual actions of your agents add up to what you're trying to do. You're incredibly vulnerable to the ELIZA effect. Someone else could be using your computer and your agents to run their own spy ring! (Again, this is not what happens in Billion Dollar Brain.)

I will reproduce the most technically sophisticated paragraph in the book, since it's clear Deighton at least talked to someone who knows computers and I like to see that rewarded:

"I don't want to bore you," Harvey said, "but you should understand that these heaps of wire can practically think — linear programming — which means that instead of going through all the alternatives they have a hunch which is the right one. What's more, almost none of them work by binary notation — the normal method for computers — because that's just yes/no stuff. (If you can only store yeses and noes it takes seven punch holes to record the number ninety-nine.) These machines use tiny chips of ceramic which store electricity. They store any amount from one to nine. That's why — for what it does — this whole set-up is so small.

No, please, bore me!

(1) Fri Aug 21 2020 10:16 Presenting AT NASFiC: Today at Columbus NASFiC 2020 I'm giving what is hopefully the definitive edition of my talk "How Game Titles Work". It had to wait until 2020, because the ultimate game title that proves all my crackpot theories wasn't released until last year. But now we should be good!

The talk starts at 2:00 PM Eastern time and you can watch it online for free. Because there's a lot of text on the slides, I'm making sure to put up a PDF of my slides before the talk, so you can follow along. After the talk I'll work on an HTML version with a transcript.

Later tonight, at 9:30 PM Eastern, I'll be giving a prerecorded reading of two unpublished flash pieces. Hope to see you there! (In the Discord.)

Fri Aug 14 2020 13:48 July Film Roundup: As countries I don't live in get the coronavirus under control, National Theatre and the weird musical channel have both died down, so our household is back to watching movies. Also I've been real busy with work and the Situation Normal proofread, so this Roundup goes well into August. Any concerns? Let me direct you to this humorous painted-script sign I have hanging on my wall: "My Blog, My Rules!" Now, if you'll excuse me, I need to go "Live, Laugh, Love!"

• Joseph And The Amazing Technicolor Dreamcoat (1999) - Back in May I said I regretted missing it the first time it was made available through Youtube, so all I can say now is the grass is always greener. Jesus Christ Superstar is way better. There are some good anachronistic gags here, but I think a lot of the enjoyment of this musical comes from nostalgic memories of the high school production where you played Asher and the butler.
• Amadeus (2017) - We loved this INCREDIBLY FICTIONALIZED story of someone with way more taste than talent. I gotta stress this is FICTIONALIZED, based on romantic myths about Mozart and his death, and apparently none of it happened this way. But what an archetype is created in this play. Great to watch.

  Reading about this afterwards I'm glad I saw the play instead of the movie, because the movie introduces a bunch of additional plot elements that doesn't really matter. It won Best Picture, so I guess they know what they're doing?

• Psych 2: Lassie Come Home (2020): Fun for Psych fans, no reason to watch the movie otherwise. Except: let's say one of the actors in your ensemble cast suffers a stroke after the TV show has wrapped. The easy path would be to write them out of the made-for-streaming sequel movies, or else bring in someone else to play the character. Instead, Psych 2 is a film entirely about the character's stroke and its aftermath. This is another way in which Psych feels more like the product of a close-knit team than other shows. Another way is the constant in-joking and bringing back characters who died in season 4, which I'm kind of tired of.
• Christmas in Connecticut (1945): Apparently this film made boffo box office because it was released three days before V-J day. When everyone wanted to celebrate by going to the movies, this is the movie there was to see. Barbara Stanwyck is fun as always, and the scamtastic setup is fun, but the male lead is kinda Zeppo-ish and for the sake of variety I was rooting for the coded-gay architect who's just looking for a beard. (She picks Zeppo.) There was also a little subplot about hostility between different waves of American immigrants which I thought was interesting but didn't go anywhere.

  This could definitely be remade as a Hallmark Christmas movie -- look at the super-white title! -- and in fact it was remade in 1992. Today it would be about an Instagram influencer, I guess.

• The Bride Walks Out (1936): Stanwyck-mania continues! Not a great film, although it kind of feels like a trial run for I Love Lucy: wacky neighbors, wife wants to work outside the home. Zeppo would be an improvement over the guy in this movie; he seems to actually dislike his wife and think of her as a burden. So why bother? Maybe it made more sense under Depression-era gender roles. Actually you know what this really reminds me of is Fig Leaves (1926), with the modelling wife and the misogynistic business partner.

  Some good one-liners and a surprising amount of unnecessary vaudeville schtick. It's always fun to see a dramatization of the office in New York's City Hall where Sumana and I got our license.

• Door Ke Darshan (2020): An uninspiring Bollywood remake of one of our favorite films, Good Bye, Lenin! (2003) Not just another film with the same idea--they clearly copied some of the shots, reminding us of how powerful/funny those shots were in the original and how they're not those things here. The setup here is totally implausible, which primes us for comedy much wackier than is appropriate to the story. And we don't even get the wacky comedy! Despite the superior videography capabilities of 2019 India vis-a-vis 1989 East Germany, the characters in this movie are only able to muster one fake broadcast.

  Rather than go on and on I'll present you with the result of our post-movie fix-it discussion: you can make an Indian version of Good Bye, Lenin!, but it needs to be set in 1947, with Mom a big booster of the Raj. Not in the cards for a low-budget picture like this.

  During the fix-it discussion we were brainstorming other big world events that could provide the backdrop for a similar movie.

  S: She could be in a coma through the Russian Revolution.
  L: Yeah, call it Hello, Lenin!

  I'm here all week! Because I can't go anywhere and there's nowhere to go!

(3) Mon Jul 27 2020 13:38 Situation Normal: I'm happy to announce that my science fiction novel Situation Normal is being published by Candlemark & Gleam! It'll go on sale December 14th, 2020. Here's the acquisition announcement, and it's time for the cover reveal!

(Cover art is by Brittany Hague, who did a fake book cover as part of Thoughtcrime Experiments way back when.)

My elevator pitch for Situation Normal is "the Coen brothers do Star Trek". It's a military SF story where no one is incompetent but everything goes wrong. Situation Normal is a direct sequel to my Strange Horizons story "Four Kinds of Cargo", but the crew of the smuggling starship Sour Candy is now only one thread of a plot that includes weaponized marketing, sentient parasites, horny alien teenagers, and cosplaying monks. It's the result of a lot of work for me and Athena Andreadis, and I hope you love it!

Sun Jul 05 2020 21:05 June Film Roundup: More months, more quarantine, more big drama! We started watching the Tom Hiddleston Coriolanus and weren't into it. Here's what we were into:

• Small Island (2019): A great "immigrant experience" drama... from England? A sure sign of national decline, that other countries are beating us at our own game. Just another reason to watch Hamilton on Disney+!

  Seriously, this was probably the best show of the month, with really well-defined characters and well-timed comic relief. Recommended!

• The Madness of George III (2018): Just as Oceans Eight (2018) got me to care about the Met Gala, this movie got Sumana to be sympathetic towards George III. I really liked the political machinations, but what I'd really like is more This House. I also thought this play took a lot of cheap shots at 18th-century medicine. It wasn't super funny and seems like the ultimate soft target. I mean, everyone from that time period is dead... because 18th-century medicine was terrible! Zing!

  For someone like me who doesn't really know the history, this play has an interesting happy ending. The king gets better! But then you go to Wikipedia and it turns out ten years later the same thing happened again. As so often happens, it all depends on when you stop telling the story. Brits: do you know what happened with George III or is it a high-school blur of "well, he was mad, and then the Regency happened"?

• A Midsummer Night's Dream (2019): A silly original text made enjoyable by really leaning into the silliness; plus acrobatics, some judicious fourth-wall breaking and a well-executed gender swap (Oberon has all of Titania's lines and vice versa). When combined with having much of the audience as groundlings milling around the stage, this performance really felt like it delivered the modern equivalent to the night out you would have gotten in Shakespeare's time.

Tonight the gala Television Spotlight shines on CanCon production Schitt's Creek, co-starring Film Roundup favorite Dan Levy, who is either playing himself on this show or took his Schitt's Creek character to The Great Canadian Baking Show, because they're the same person wearing the same outfits. The show's fun, low-key Canadian take on "Arrested Development but not mean", the sort of thing we saw with Jane the Virgin.

Sun May 31 2020 18:09 May Film Roundup: More prerecorded live theater, but since all the National Theatre productions etc. have IMDB pages I've decided to just call them "films".

• Frankenstein (2011): We were not big fans. We saw the version with Benedict Cumberbatch as the creature and Jonny Lee Miller as the doctor, rather than vice versa. I don't think it would have made a big difference because my problems were with the super-unsubtle script. Some nice bits of staging... and some super-unsubtle bits of staging. Not subtle, I guess I'm saying.
• By Jeeves (2001): In conversation afterwards, Wodehouse superfan Elisa revealed she'd seen the original London run of Jeeves in 1975. She spun a fantastic tale of the play having originally featured a heavy Roderick Spode fascism subplot, a tale backed up by the Youtube link she sent me of S P O D E, Andrew Lloyd Webber's "Tomorrow Belongs to Me."

  That show sounds really interesting but it was a flop, so Webber eventually reworked it into this simpler, fluffier, lower-budget piece with a really awkward framing device. Still kinda funny though. Sumana and I thought Wooster was depicted as way too stupid (and uncharacteristically aware of his own stupidity), and Jeeves as way too snarky, but Elisa says that's in line with the earlier stories, before Wodehouse had a handle on the characters.

  Hard for me to complain about the slow start because Webber himself defused the criticism in a wrap-up video where he smiles warmly and thanks the fans for watching all his plays, "even By Jeeves—slow start, I know."

• Antony and Cleopatra (2018): Not much fun apart from the mental pleasure of decoding 500-year-old jokes.
• Moon Zero Two (1969): Rewatch of the MST3K cut during the MST3K LIVE Social Distancing Riff-Along Special with Emily Marsh in the big chair. I really enjoy the underlying movie (it's stupid, but its decent budget gives it a lot of fun sci-fi set dressing), and it was nice to see a good print of it rather than the much-circulated VHS tape I remember watching.
• A Doll's House: this one fell flat for us; not sure how much of the problem is with the original vs. the changes made for the adaptation. Some good Hitchcock-esque suspense with the letter.
• Barber Shop Chronicles (2018): A great play: a convoluted plot that turns out to involve just a few simple human relationships. Big recommendation.
• Cats (1998): I confounded expectations by loving this play. It was exactly as good as Cats. I'm not going to see it again and again, though.

  It's hard to beat the book here: the poems are really enjoyable. The staging puts the cats at around Fantastic Mr. Fox on the anthropomorphic animal twee-meter, which is right where I like it. I've never been a huge fan of "Memory", the show's hit single, and next to all the Eliot it really felt out of place, like a practice song for Phantom.

  The enjoyability of Cats didn't mean we spared it our acid riffing. Our best one: as the rest of the cast takes their bows, someone busts on stage singing ♬ I'm Chumbyfate, the cat who's always late! ♬

• This House (2013): Engrossing political dramedy with an incredible soundtrack and staging. Probably our favorite of the National Theatre set so far. We started out thinking the play might be entirely fictional; then the wealth of detail convinced us it was probably somewhat historical; then I looked it up afterwards and not only did all the big plot beats happen, all the people portrayed in This House are real people who now have OBEs and Wikipedia pages. Another big recommendation... and since this is the most recent National Theatre production to go online you can still watch it, assuming you reliably read Film Roundup right when I publish it.

Sun May 03 2020 16:18 April Theatre Roundup: For the first time since the institution of Film Roundup, I didn't watch any films last month. Instead, Sumana and I streamed recorded-live theater performances from two British sources. With theatres closed, the National Theatre has been putting up one play a week from their 2010s archive. So far they've all been excellent. (I'm adding IMDB links where possible, to disambiguate from other performances of the same play.)

• One Man, Two Guvnors (2011): Really enjoyable farce with a good variety of types of comedy. Not a lot to say; we loved it. Big recommendation.
• Jane Eyre (2015): Sumana has read the book and I haven't, so we played a game where Sumana would periodically pause and I'd make up how I thought the story is going to go. I think I did pretty well—I invented an "inspirational teacher" character who was cut from this adaptation but is present in the original novel.

  This is where I started noticing that the National Theatre does really cool set design. One Man, Two Guvnors was written as a play and it's got normal British play-staging: a drawing room, then a street, then a pub, etc. But when you're adapting a novel that spans most of someone's lifetime, you need a more abstract space that can be reconfigured on the fly. These sets act like children's playgrounds, providing scaffolding for the imagination. This is probably entry-level stuff, but I don't watch a lot of theatre.

• Treasure Island (2015): Another fun one, with a super-impressive set that transforms from inn to ship to island to cave. How closelyy does this production track Stevenson's original vision, most clearly realized in Muppet Treasure Island (1996)? Well, there are no Muppets, that's a big ding. But Patsy Ferran makes a great Jim Hawkins, and most of the time you're watching Jim, so minute-to-minute I think it's better.
• Twelfth Night (2017): I discovered here that watching Shakespeare with subtitles really helps you understand the play and feel smart. In fact, by the time we finished watching Twelfth Night I was convinced I had written Shakespeare's plays. I mean, look at this acrostic:

  Disguise, I see, thou art a wickedness,
  Rherein the pregnant enemy does much.
  Aow easy is it for the proper-false
  Nn women's waxen hearts to set their forms!
  Olas, our frailty is the cause, not we!
  Eor such as we are made of, such we be.
  Low will this fadge? my master loves her dearly

  Exactly the sort of stupid stunt I'd pull. Anyway, check out this presentation of one of my classic comedies. Oliver Chris plays Orsino as exactly the kind of amiable public-school dunce he brings to the role of Guvnor #2 in One Man, Two Guvnors.

On a less highbrow note, on the weekends we've been watching Andrew Lloyd Webber shows on The Shows Must Go On!, a YouTube channel created just for this purpose. Despite what I thought going in, it turns out I'm not a big fan of Webber's stuff. I remember liking Evita when I was a kid, and I'm holding out hope for his quirkier shows, like the Jeeves and Wooster musical and the... Thomas the Tank Engine???

• Jesus Christ Superstar (2018-ish?) - My favorite so far of the Webber we saw this month. Great concept, decent songs. I regret missing Joseph and the Amazing Technicolor Dreamcoat the week before, since my sisters like that one.
• The Phantom of the Opera (2011?) - There's a common type of story about a Tormented Man of Genius whose Genius explains/excuses/justifies his antisocial/misogynistic/destructive behavior as he drives away everyone he cares about. You can read The Phantom of the Opera as a gender-swapped version of this story, about a Tormented Woman whose destructive Genius manifests as an abusive, overdemanding partner. That's an interesting story, but probably not the intended reading. The title song is rockin' but watching this felt like buying an album having heard the one hit single.
• Love Never Dies (2012) - The less said the better regarding this Phantom sequel. The best thing to come out of this viewing was our joke that the 'song' the Phantom has written for Christine to sing turns out to be the Doublemint Gum jingle:

  ♫ Double-double your refreshment ♫
  SING!
  ♫ Double-double your enjoyment ♫
  SING FOR ME!

• Andrew Lloyd Webber: The Royal Albert Hall Celebration (1999): Not technically a musical at all. At this point I realized that even front-loading the greatest hits won't do much for me. I will give props to Julian Lloyd Webber for refusing to dress up for his brother's birthday celebration, performing an energetic cello piece wearing what looks like a football jersey from videogame publisher Acclaim.

(1) Sun Apr 19 2020 17:53 It's All the Go!: When I'm under a lot of ambient stress, one of my low-energy hobbies is browsing old catalogs. One that caught my eye recently was the 1926 Albert Pick, Bath & Company supply catalog for soda fountains and ice cream parlors. My nostalgia for tutti-frutti and walnuts in syrup is secondhand—the drugstore soda fountain was basically dead when I first encountered one in the late 1980s—but I was spending a pleasant hour paging through this catalog and chuckling at the old-timey language when I saw an intra-catalog ad. A space in the catalog was being used not to advertise a product, but to advertise a page further along the catalog:

"Krusty Korn" Baker

Turn to page 94 and see our New Money Maker. Cooks Frankfurters and Hamburger in Corn and Molds them like an Ear of Corn. They're going to be a Big Hit.

That's pretty silly, I thought. Who the heck thought "Krusty Korn" would catch on? How do you even cook a Frankfurter "in corn"? But it worked. I turned to page 94. And there I saw...

Krusty "Korn Dog" Baker

Something New in Money Makers

It's new, novel, and delicious to eat. The Krusty "Korn Dog" is a corn bread waffle, shaped like an ear of corn, with a "hot dog" baked inside. All done in one baking. IT'S ALL THE GO AND MAKING BIG MONEY FOR OPERATORS ALL OVER THE COUNTRY. The "hot dog" is baked inside the corn batter, which, as it bakes, moulds itself to resemble an ear of corn. When broken open it looks exactly like an ear of corn with the golden kernels on the outside and the red cob of sausage in the center.

It's corn dogs. This is the ancestral form of the corn dog. They used to be molded like ears of corn with little kernels. Amazing. Maybe we shouldn't have stopped thinking of the coating as a "corn bread waffle"; corn dogs might be haute cuisine today.

Sat Apr 04 2020 11:39 Film Roundup: "These Trying Times" Edition:

• Gravity (2014): The last film I'll see in a theater for a while. What a send-off! Almost all movies are better on a big screen, but this is the only good movie I can think of that needs the big screen to be good.

  Also a great example of the kind of action movie I like: almost roguelike in its combination of a small number of elements in different ways. The General does this; so do individual Jackie Chan fight scenes.

• The Spy Who Dumped Me (2018): A film made just for Sumana, who loves spy action but doesn't love movies full of dudes. As for myself, I enjoyed the humor and the goofy Kate McKinnon faces, but an action scene that's not set in free-fall? I just don't get it. Very much a popcorn movie for me.

The Television Spotlight is in full force this month; Sumana and I are watching Ken Burns's epic "Baseball" documentary (1994) with all its slow pans and Shelby Foote drawls. PBS is streaming it for free within the US. We're not quite done, but I feel comfortable recommending it. Don't care about baseball? It's for you! I think for people who do care, this documentary may be a little boring. For me, it's nice hearing people really passionate and knowledgeable about the long history of something I don't really care about. And only about 20% of it is depressing, unlike the Civil War documentary. Steven Jay Gould is a nice surprise.

Finally, just a reminder that my Film Roundup Roundup page has over 150 recommendations to tide you over while Film Forum is closed. Take care!

Mon Mar 09 2020 19:24 Reviews of Old Science Fiction Magazines: Analog, September 1980: The big highlight here is Steven Gould's very un-Analog "The Touch of Their Eyes". Good writing, cool 'superpower'.

A couple other bits worth mentioning:

In an inversion of the usual, Mack Reynolds's "What the Vintners Buy" is an era-typical sexist romp right up to the end where there's an incredible plot twist that should have been revealed at the beginning of a much different story. For the record, the twist is that the entire interstellar economy is a scam, with every planet spending all its money on a genetically tailored drug produced by some other planet. Too clever to leave unexplained, too specific to rip off.

And in a "no longer satire" moment, Susan M. Schwartz's "The Struldbrugg Solution" mentions a college class called "Myth in the Classic Stan Lee Comic".

Back cover ad pushes The Number of the Beast with the blurb "Look Where Heinlein's Been for the Last 7 Years". I admit I haven't exactly been cranking out the novels, so I probably shouldn't snark. In fact, maybe this ad points the way to what my work has been missing: "sensual scientists."

Wed Mar 04 2020 17:01 February Film Roundup: I wasn't kidding about Space February:

• Remember the Night (1940): Really nice rom-com with heart and a satisfying bittersweet ending. Brought down a bit by the stereotypically racist "comic relief valet" role given to Fred Toones at the opening. I dunno, you make this nuanced, funny piece that carries powerful emotions across eighty years and I gotta put a big asterisk on it because of cringey racism. Not to single out this movie in particular; Fred Toones has 223 roles listed on IMDB, thirty-five of which are "Porter (uncredited)". He played "Porter (uncredited)" in Mr. Smith Goes to Washington!

  Filmmakers take note: Remember the Night is effectively an edgy Hallmark Channel Christmas movie and could be remade as such.

• Star Trek: The Motion Picture (1979): My first time seeing this on the big screen, and it was preceded by a talk from Film Roundup fave Douglas Trumbull! Some cool photos and juicy special-effects gossip. Then, the movie! It's not great. Reading between the lines of Trumbull's talk I feel like I got an understanding for what went wrong. But I've been reading The Best of Trek, an old series of books assembled from fanzine articles, and fans in that era were pretty hungry. Easy to turn up our noses today, when there's an entire streaming service being kept alive by original Trek programming.

  As with Star Trek V, I'm gonna stand up for this "bad" movie as having a heart of pure Star Trek. First, nothing else has the scale of the V'ger flythrough. The Dyson sphere in "Relics" is bigger, but 1) it's just a sphere, 2) the Enterprise barely goes inside. This is klicks and klicks of varied, mysterious organomechanical sensawunda. Great stuff.

  Second, it's common knowledge that ST:TMP is a rehash of a TOS episode. But is that so bad? Why not take a classic episode, crank up the humanism, and give it a lavish big-screen makeover? Isn't that better than where we are now: redoing the first "good" Trek movie over and over?

  Bonus from discussion: Trumbull is working on a cinematography technique involving filming at very high framerates. He's been working on this for a long time—Brainstorm (1983) was supposed to be a showcase—but the return of 3D movies, which are filmed at high framerates, means movie theaters now have projectors that can show these films.

  Trumbull made bold claims about the immersive qualities of films made using this technique, claims I think could be tested relatively easily by reformatting the 2016 Ang Lee movie Billy Lynn's Long Halftime Walk. I haven't seen that film, but it was shot at a high framerate and was panned for problems Trumbull says he has solved. That contemporaneous Slate article paraphrases him as saying that eliminating flicker creates a better film experience—the opposite of what I heard him say in person—so presumably he's learned something from Billy Lynn. Just noticing things from outside the industry here.

• Space is the Place (1974): I was really into the first scene, which takes place on a TOS-like alien planet with weird flora, but they must have used the whole budget on that scene because the rest takes place in hospitals and warehouses and is mostly dull. Big credit for early Afrofuturism, and the nonchalance with which all characters accept the science fictional premise. Sun Ra goes to the youth center to rap with the kids and a lot of them are like "who's this old fogey?" but there's no "I'm skeptical that you just spent several years in space."

  If you're a fan of Sun Ra's music then I'm sure the music redeems it, but I'm not (sorry, Jake). In fact, this film made me realize I'm not really into Frank Zappa anymore. When I was in college those long guitar solos seemed like the sort of thing I should like, and would grow into as I matured, but during this movie I kept thinking "I know their styles are polar opposites, but this is boring me in exactly the same way as a thirteen-minute Frank Zappa song." So, it's good that this film got me to examine my preconceptions.

• Alien (1979): Rewatch with Sumana. It's still great! Before showtime I asked Sumana some diagnostic questions to see what she knew about this movie from cultural osmosis. "There's a famous scene in this movie. Do you know what I'm referring to?" She didn't at the time, but during The Scene she gave me a significant elbow nudge.
• Dark Star (1974): Also a rewatch with Sumana, but I originally watched Dark Star in the pre-Film Roundup era, so I'll go into a bit more detail. Like Space is the Place, this has some great scenes, but at feature length it's a slow ride. I was thinking "man, that ending seems really familiar" and chalked it up to having seen the movie before, until Sumana also mentioned finding it familiar. Turns out it's a ripoff of "Kaleidoscope", a really good Ray Bradbury story we'd both read. You thought Stephen King's student-film "Dollar Babies" were a bargain, but plagiarism is even cheaper.

  Sumana found the dude-heaviness of Dark Star a bit tiresome after the greater diversity of Alien, which is reasonable, but I think Dark Star gains power if you see it as a movie made by a buncha guys who are worried about being drafted.

Sat Feb 01 2020 22:11 January Film Roundup: Welcome to Space January! Thanks to the museum's new 2001 exhibit and its filmic tie-ins, I got to see lots of space flicks in January. Next up: Space February!

• Apollo 11 (2019): I was blown away by this film, made almost entirely from unused contemporary footage synced with mission audio. There's a little illustrative CGI and on-screen graphics, but it's mostly just amazing shots of people and equipment. Two bits stick in my mind in particular. First, a long, long pan through rows of computers and rows of desks that ends up in what you see in other movies as Launch Control. It was like seeing the whole iceberg. Second, this movie dramatizes the 1202 incident, creating a near-Uncut Gems level of tension, without having to stop and explain what was going on. You just hear the real-life participants dealing with the problem and you get the gist. I may be watching this again at the museum soon; that's how good it is.
• High Life (2018): I was 100% engaged in this Silent Running style story with this guy and his daughter, and then that story turned out to just be a framing device for a J. G. Ballard type of thing in flashback. Claire Denis told the story she wanted to tell, but I was not into it until the flashback ended, at which point my interest abruptly resumed. So not a recommendation overall.

  Caution to doesthedogdie.com fans: I don't think I've ever seen this many dead dogs in a movie.

• We saw a bunch of more or less spacy 2001-inspiring shorts. Some of this called back to 2013's computer film festival with droning and strobe lights, but a couple stood out: John Whitney's Catalog, which true to its name felt like a sizzle reel; and Colin Low's special-effects extravaganza Universe, narrated by Douglas Rain and starring a daredevil astronomer. Watch 'em online!
• The Earrings of Madame De... (1953): This is... a film noir. I see why it's not marketed as such: it's super femme and it takes place in the 19th century. But it's the story of someone who makes one bad decision and has to keep hustling and doubling down and improvising until the aftermath ruins her life. Just awesome. Would love to see more stuff like this.
• Dolemite is my Name (2019): Doing a biopic as a comedy is a great idea; there should be more. Pure moviemaking fun. Loved the cameos. One obvious comparison is Ed Wood, but this movie seems to care a lot more about accuracy. The main liberty I found in IMDB trivia was dramatizing the filming of some scenes from the Dolemite sequel as though they were from Dolemite. Presumably just for fun.
• Ikarie XB-1 (1963): For the 1960s this is some impressive psychological sci-fi. Like watching two really good TOS episodes back-to-back. A little heavy-handed, but I repeat myself. I went looking for director/screenwriter Jindrich Polák's other stuff and randomly found a time-travel thriller comedy (Tomorrow I'll Wake Up and Scald Myself with Tea (1977)) and an ET-like family movie (The Octopuses from the Second Floor (1987)). A solid body of work!

  But here's the secret to Ikari XB-1's success: it was based on a Lem novel! One of the early ones, the ones that never got translated into English but provided seemlingly endless grist for Eastern Bloc filmmakers (see First Spaceship on Venus, which is basically a bad version of this movie but it's easier to tell the characters apart). It's a little moviegoing treat, like finding a Billy Wilder writing credit.

  And the surprises keep coming: when researching this I learned that MIT Press is reissuing six of Lem's books later this month! Including a new translation of The Invincible, which I've never read. Very exciting. Don't sleep on Memoirs of a Space Traveler and His Master's Voice!

Got a hot Television Spotlight tip for ya today: "The Repair Shop", a wholesome BBC reality show where conservationists who normally (I'm assuming) make top £££ restoring Rembrandts and Louis XIV cabinets, turn their skills to family heirlooms brought in by random people. You may have noticed that I only like reality shows where people are nice to each other, and this one's 100% collaborative, very relaxing to watch.

Sat Jan 11 2020 13:41 Leonard's Excursions 2019: Just a memorandum of some of the unusual travel and fun things I did in 2019.

Early in the year I took my first trip to Chicago, for DPLAFest. I stayed with Beth and we did some fun tourist things, like the Chicago Architecture Center boat tour! Accept no substitutes! Or do, it's probably okay. But the CAC tour was great.

We also hit the Chicago Art Institute, which was a real highlight, since Beth is a fine artist who went there all the time as a kid and talked about her favorite pieces. A few of my favorites which I'll share with you, via the medium of website links rather than my own awkward photos.

• The Artist Looks at Nature by Charles Sheeler. This is the piece hung directly to the right of American Gothic. Beat the lines!
• Cow Relieving Itself by Nicolaes Berchem the Elder. Nuff said.
• Robot by Alexandra Exter. Absolutely incredible, especially considering it's from 1926!
• i\Ω.. by Jacqueline Humphries. The Smooth Unicode of fine art!
• Eviscerated Corpse by Mike Kelley, the work that made my 14-year-old mind stop in its tracks at LACMA and understand contemporary art.

They've also got the old floor of the Chicago Stock Exchange off in a corner! A corner I guess they use for events, since I don't think the Chicago Stock Exchange originally had a grand piano on the floor. Some live music would have really classed up the joint, though, I tell you what.

In May, my sisters came to New York and surprised me with a weekend of tourist activities and a fancy dinner!

For my birthday we planned a getaway in upstate New York at a rented house with a few friends. Allison and I did some stargazing and saw a little bit of a meteor shower. Shout out to Rodgers Book Barn, the perfect mix of "peaceful rural atmosphere" and "huge used bookstore". Thanks to Zack and Pam for driving.

Allison and I went to a Manfred Mohr retrospective at a gallery. Never heard of him before but it was definitely art the two of us can agree on. I really liked his plotter-esque pictures from the 70s and 80s, such as P2400-297d_5225__black. The names of the artworks feel like program filenames; I was expecting a bunch of _final_FINAL.

PS: in June, Sumana and I randomly ate dinner at Copinette, a French restaurant on the former site of Copain, the much fancier French restaurant that Gene Hackman stakes out in The French Connection. You live in New York for a while and these odd coincidences become smaller and less common, but they still happen!

Sat Jan 11 2020 09:53 The Crummy.com Review Of Things 2019, Part Two: Film: Well-covered throughout the year as always; what you're here for (assuming you're here at all) is the top ten!

Most of the movies in this year's top ten come from the 1980s, due in large part to Bill Forsyth's dominance of the scoreboard. Sorry to be the person in the Youtube comments on a rock video saying "Wish I had a time machine! I'd go back to the 80s and relive the same ten-year span over and over until I died! Who's with me? haha!"

1. Wings of Desire (1987)
2. Knives Out (2019)
3. Breaking In (1989)
4. Comfort and Joy (1984)
5. Face/Off (1997)
6. Gregory’s Girl (1980)
7. Working Girl (1988)
8. Puppy Love (1985)
9. Booksmart (2019)
10. Sweet Charity (1969)

On a meta level, I love how almost every year my top film of the year has been one I went into without any particular expectations. Keep the surprises coming, I say.

If you only care about recent movies, here's my top list from 2019:

1. Knives Out (2019)
2. Apollo 11 (2019)
3. Booksmart (2019)
4. Recorder: The Marion Stokes Project (2019)
5. Born Bone Born (2018)

I snuck Apollo 11 in there even though I saw it on January 5th, because it's just that good. As always, I've updated Film Roundup Roundup to include about thirty recommended films that in I either first saw or first reviewed in 2019.

Fri Jan 10 2020 19:37 The Crummy.com Review Of Things 2019, Part One:

Here's our Christmas card photo. I impulsively volunteered to wear the Patience suit for an NYPL photo shoot that I don't think ended up being used for anything? I would not repeat this experience, but I'm glad I did it: I got a taste of what it's like to be the weirdo in Times Square everyone has decided to ignore. So let's start this Review of Things off right, with:

Books

The Crummy.com Books of the Year are the Steerswoman series by Rosemary Kirsten. I can't say enough good about these books: how they're fantasy and science fiction at the same time; how tight the integration is between worldbuilding, character development, and plot; and how varied the pacing is. I'm so glad that the Internet has let the books come out of midlist purgatory, find their audience, and give Kirsten a way to finish the series.

Some other notable books I read in 2019:

• Lifelode by Jo Walton (Sumana's recommendation for a Steerswoman readalike)
• The Pigeon Tunnel by John le Carre
• Minitel: Welcome to the Internet by Julien Mailland and Kevin Driscoll
• Sea People: The Puzzle of Polynesia by Christina Thompson
• Elements of Surprise: Our Mental Limits and the Satisfactions of Plot by Vera Tobin (Of huge interest to writers but not, according to reactions when I talk about it, to anyone else)

I finished volume 3 of Mark Twain's autobiography, as promised. He's the Twainiest! Also, I recently learned about the incredibly sleazy tactic UC Berkeley used to keep copyright on this book until 2047, when it would have otherwise expired in 2003. The best I can say is that, judging from the contents of the autobiography, Twain himself would have approved.

I've been reading Bleak House for most of the year; it's slow going! But not for the reason I expected: there's a whole other subplot in here that I don't find super engaging.

Games

The Crummy.com Game of the Year is "Cataclysm: Dark Days Ahead", an open world zombie survival game that's also run as a modern open-source project, with pull requests and code review. Not only is this great for keeping gameplay fresh in these kitchen-sink roguelikes where wealth of detail is really important, it's really good to see on its own. This could be the gaming gateway that gets The Kids interested in software development best practices!

Other fabulous 2019 games I played include "Baba Is You", "Untitled Goose Game", "Dicey Dungeons", and "Super Mario Maker 2".

Writing

I wrote four short stories in 2019: "Meat", "Mandatory Arbitration", "User Error", and "The Scene of the Crime". Three of those stories feature a character who in one of my luckier future timelines becomes my Sherlock Holmes, a character who is remembered long after I and all of my other work have been forgotten. Very positive about this character, is what I'm saying. Really fun to write.

I assembled a NaNoGenMo novel: Linked by Love.

I'm getting much more aggressive this year about placing my fiction, so hopefully we'll see some sales. In terms of novels, there's good news and bad news and for now I'm gonna have to go with a big NO COMMENT.

Bots

I created only one bot this year, Secretly Public Domain, and I made it for a specific activist purpose which is more or less seeing results. As per NYCB passim I had some additional bot ideas, did the fun part of the work, and let the code sit in the programming/2019 folder of my archive.

I decided not to keep Almanac for New Yorkers going in 2020. There's one more year of life in the project, thanks to 1939, and the 1938 almanac for San Francisco, but the project wasn't super popular and 2020 isn't the year. Maybe later.

I do have two "just for fun" bot ideas that I'm gradually seeing through to completion. One of them is going to have to wait until I'm sick or otherwise mentally impaired and have nothing better to do than go through a huge amount of text, but you're gonna love it. And by "you" I mean "Allison".

Wed Jan 01 2020 11:13 December Film Roundup: A pretty highbrow month with some well-done films but not a lot of joy. Thank goodness for the Muppets, that's all I can say.

• Knives Out (2019): The highlight of the month, right off! A really fun film that pulls off the delicate dance of not being a traditional murder mystery that we've all seen before, but also turning out to, yes, be a traditional mystery after all. I'm always there for an eccentric detective, and quite often there for the story of a wealthy family who lost everything.
• Ad Astra (2019): I did not enjoy this movie but it had one perfect science-fictional detail, it dramatized a real-life detail I'd never seen dramatized (astronauts being paranoid about their psych evaluations), and its final message was one I've never seen presented in filmed SF, so in some sense it was good? I appreciate it on an academic level but it didn't move me.

  I kept thinking Natalie Portman was going to be in this, but that's a whole other 2019 space-madness movie, Lucy in the Sky, which has an oof IMDB rating of 4.5.

• The Stranger (1946): Not quite the "together at last" I was hoping for from an Orson Wells/Edward G. Robinson matchup, but definitely a watchable thriller. I enjoyed the small-town machinations—who will bring the ice cream to the tea social?—as well as Robinson playing a cultured character closer to his real-life persona more than the "thriller" bits, but it's all part of the puzzle.
• Muppet Treasure Island (1996): My nephew's introduction to the Muppets! He was enraptured! However, he was also enraptured by Dr. Seuss' The Grinch (2018) when we slapped that up on the TV to keep him busy, so it's tough to exclude the null hypothesis.

  As for myself, it was great to see Tim "the human Muppet" Curry serve up the ham, and I loved the fresh Kermit/Sam relationship where Sam—whose defining characteristic is craven service of power—sees Kermit as "power" rather than a suspicious intruder to be reported on Nextdoor.

  Overall, this adaptation made me want to read the book, whereas The Muppet Christmas Carol (1992) makes me feel like I've gotten everything good that the book has to offer. That's an impossibly high bar to expect from a film adaptation, but Christmas Carol meets it.

• Christmas Eve on Sesame Street (1978): Seen at the museum with Rachel, Brett, and nephew. I could lose the ice-skating intro, but what's really nice here is Bert and Ernie's child-logic "Gift of the Magi", and what's really nice is the gentle way Big Bird's Santa obsession is handled. Unlike basically other Santa story I've ever seen, this is a dual-layered story that you can appreciate on its own terms whether or not you Know.

  After seeing this we walked through the museum's Jim Henson exhibit, and nephew (again, no previous Muppet experience) instantly recognized and loved the Big Bird puppet. Although we didn't run the experiment, I don't think he would have reacted the same way to the mo-cap dataset used to map Benedict Cumberbatch onto a CGI Grinch.

• The Irishman (2019): Speaking of mo-cap datasets. Saw this on the big screen (at the museum, again) the way Martin Scorsese intended. It was very enjoyable, though the enjoyment was tempered by the interjections of a film-snobbish audience member during the intro. I came here for a movie; I don't need the live show!

  Anyway, this was a really solid straight-down-the-middle gangster film, but overall I'd rather see a weirdo entry in the genre, like Comfort and Joy.

  I knew going in that The Irishman had a scene that was filmed in a bank in my neighborhood. It's an antique bank building, and I was looking forward to it as a little easter egg. The whole time I expected the old-timey bank scene to show up in the 1960s timeframe, but that scene takes place around the year 2000. My own private plot twist!

• Uncut Gems (2019): The lights went down and the soundtrack let out a big Tangerine Dream BWAAAAAAAM and I thought "oh, shit, this is by the Good Time guys, isn't it?" Yes, it is. This was certainly more fun than Good Time. I expect for a certain type of moviegoer these films are an adrenaline rush like Gravity. For another type of moviegoer these films are way too stressful and you have to walk out. I guess I'm in the middle? I was along for the ride, but I'm probably not going to keep seeing these, assuming I start paying more attention to directors' names.

  One cool thing about Uncut Gems is that it's set in 2012 because the plot hinges on real-world events from that year, but if you live in NYC it's pretty easy to see it was filmed recently. Scorsese would have spent millions digitally erasing the LinkNYC kiosks and changing the ads on taxis, but the Safdie brothers are more chill. It's not important to the film!

Mon Dec 30 2019 12:43 Olipy3: Right under my self-imposed deadline I've reached my 2019 goal of porting olipy and botfriend to Python 3. Enjoy it! I sure am.

Mon Dec 23 2019 17:04 Cassini metadata: This year I spent some time doing the pleasant part of botmaking (ideation, data gathering) without the boring part (handling dozens of edge cases, signing up for accounts). One of the bots I never completed was "Cassini GIFs".

All the photos taken by the Cassini probe are online, and each photo has associated metadata. By looking for photos taken by the same instrument at evenly spaced times, you can find frames that would look good as an animation. Here's a nice example: a "movie" of Saturn's moon Dione taken on November 1, 2011:

It was really fun to make these animations that probably only a few people before me had seen. And the fun doesn't need to stop at Saturn: the SETI Project's OPUS3 has aggregated imagery from across NASA's outer planet missions.

The bad news for anyone else who wants to try this out is that the Cassini data is huge. You can download individual frames pretty easily, but the metadata is bundled in enormous tarballs and stored in an ad hoc 1990s file format. To provide a booster seat for the future, I converted the metadata into NDJSON format and put it up as cassini-metadata. Here's one more GIF to whet your interest: Saturn's rings on July 15, 2014:

Fri Dec 20 2019 21:58 Openly Public Domain: I was showing Secretly Public Domain to my brother-in-law and noticed that Hathi Trust has marked a lot of the books as public domain! In Hathi parlance, Books that used to be "Limited (search only)" have been made "Full view" (though this is geofenced within the US). You can read the whole book, download a PDF, etc.

This is probably the visible result of the work described in "It's No Secret - Millions of Books Are Openly in the Public Domain", the first known blog post to cast shade on one of my bots with its title. I knew Hathi had done a few books as a test, and now it's really ramped up!

Now we're at the point where thirteen of the last twenty books my bot posted are already "Full view". And notably, the computer-history book I mentioned in the Vice story, The compatible time-sharing system: a programmer's guide., is also "Full view"! Way to go.

(1) Wed Dec 18 2019 11:45 Only g62 Kids Will Remember These Five Moments: Doing a little year-end cleanup in preparation for a big announcement. Back in February I sold a flash piece to Daily Science Fiction: "Only g62 Kids Will Remember These Five Moments". I think it's pretty good. Don't like it? All I have to say is: "OK, g61er."

Sun Dec 08 2019 21:09 November Film Roundup:

• Torn Curtain (1966): A fun late Hitchcock except I expected an extra double-cross that never came. This is a pattern for me, and I think I'm just used to post-Hitchcock movies where there's one more twist. Our two main characters are engaged, and the POV doesn't strongly stick with one or the other—each has scenes where the other isn't present—which limits the possibilities for double-crossing. It's a shame as an extra twist could have taken it into North by Northwest territory for me.

  Weird detail probably caused by incoherent 1960s sexism: Julie Andrews's character is some kind of space scientist, like her fiancé, but she's treated like his secretary, down to the level of how much she's expected to know about his project: not nothing, as would happen if she worked on a different project altogether, but not so much that the East Germans can get the information from her instead of Paul Newman's character.

  I originally wrote the two main characters are "married", because the film starts with them in bed together, but that's Alfie, always pushing the boundaries of film. Whether it's flushing a toilet or implying that people who are almost married are having sex, he's giving a big "shove off, mate" to the squares!

• Bamboozled (2000): This is the most difficult-to-watch movie I've ever seen. I don't value "difficult to watch" per se so this isn't going on my best-of list, but I will put it next to Face/Off on the "so bad it's good" shelf: Bamboozled is bad and good simultaneously and for the same reasons.

  A while back I said that you can't make social change by making a movie, but Bamboozled seems to show it's possible, if the society you're trying to change is Hollywood. The same crossed wire that leads filmmakers to romanticize 'the movies' makes them susceptible to arguments delivered via movie—arguments that will not affect the moviegoing public as a whole. Bamboozled is pointing out a lot of problems with Hollywood, most of which are structural, but there is one simple thing that even a lowly bring-me-coffee screenwriter can take to heart: blackface gags are evil and you need to stop it.

  Roger Ebert's review of Bamboozled notices the film's systemic critique but says the blackface bit is so offensive as to obscure it. I agree with this, but in 2000, mainstream Hollywood movies were still doing actual blackface gags! A year ago I was shocked to see one in O Brother, Where Art Thou?. I admit the first time I saw that film, it didn't register, just like it it didn't seem to with Ebert.

  After seeing Bamboozled I went looking on IMDB, as well as Screen It ("Movie Reviews for Parents"), and it looks like after an O Brother-esque bit in Zoolander (2001), Hollywood blackface gags died out. This surely would have happened eventually, but I'm gonna argue that Bamboozled is the reason they stopped when they did. Movies with systemic critiques are not uncommon: Bamboozled is unusual in that it got some results.

  Of course, artists are always pushing the boundaries, and the easiest way to address a topic that becomes taboo is to slather on a layer of indirection or irony. So we do see Jack Black play a character who angers his neighbors with a blackface act in Be Kind, Rewind (2008). We see Robert Downey Jr. play a character who goes way too deep into Method acting in Tropic Thunder (also 2008) and apparently some damn thing or other is going on in The Imaginarium of Dr. Parnassas (2009). But that seems to be about it.

  In these post-Bamboozled cases, real people are making a movie in which a fictional character makes the bad decision to wear blackface. (That's the joke.) Then the real people are saying "That wasn't me, it was the dummy!" to soften the blow.

  Pre-Bamboozled, the blackface itself was generally not the joke. It was a way of creating a fictional construct, a kind of ventriloquist dummy, that could be used in other jokes. See Silver Streak in last month's Roundup for an example. Bamboozled is saying, over and over with no subtlety, that it is an act of real-world evil to create that ventriloquist dummy, and that any jokes you might have it tell are drawing from a well of evil, not from your comedic genius. So just don't build the evil ventriloquist dummy.

  This is why I'm saying so-bad-it's good. To succeed artistically, Bamboozled has to be a bad movie. If it was somehow good, it would enact the nightmare scenario it depicts. As it is, I think there were a bunch of scripts in the early 2000s where a white producer read a draft and said "uh, hey, did you see Bamboozled (2000)?" and long story short, there was a rewrite. Around 2008, Hollywood figured out a workaround: have a fictional character build the evil ventriloquist dummy, just one of many bad decisions a fictional character might take. But it didn't get a lot of traction.

• Ocean's Eleven (1960): Watched as a fluffy palate cleanser after Bamboozled but of course there had to be an O Brother, Where Art Thou? style blackface gag in this movie. Ugggh! Otherwise it was okay. Cesar Romero was a nice surprise. I expected everything would be super stylish, but it's more like the ambient stylishness of 1960 was higher. Frank and Sammy look cool even when they're just hanging out in the rec room.

  However, why not watch a stylish 1960 movie that's also really funny, like The Apartment? Oh, look, there's Shirley Maclaine, showing up for a cameo in this movie while filming The Apartment. I'm not saying people should always watch The Apartment instead of watching this, because you gotta have variety, but... maybe the Soderbergh remake is better.

• The Whole Town's Talking (1935): Previously seen in 2012 with a big theater crowd, now seen in the living room with Sumana. There were some great bits but the big, nearly continuous laughs I had in 2012 weren't there. What's the difference? On top of obvious stuff like "laughter is contagious", I think a big part of it is Edward G. Robinson using his face and body language to do the type of physical comedy that's funnier on the big screen: rapid switches between menacing and milquetoast.
• Working Girl (1988): A 1980s corporate comedy a la Big Business, but less purely comedic and with an interesting, realistic business plot. Big recommendation.

  Every major character in this movie has a big beefcake/cheesecake scene. Sometimes it's played for laughs: Harrison Ford's changing shirts in his office and all the Wall Street secretaries are looking through the plate glass window like "aww yeah." The public demands tasteful skin!

• Monsieur Verdoux (1947): I'm not a huge fan of Chaplin's films mainly because they're so sentimental, so I figured I'd like his oddball serial killer comedy. And it's pretty good! Except, stop me if you've heard this one, after a crashingly cynical final scene it goes on for like five more minutes and gets a little sentimental for my taste. Overall, a good mixture of tension and comedy that put me in mind of all those Ealing movies where Alec Guinness plays a genteel criminal.
• We went to a Sesame Street Lost and Found event at the museum, but we were sworn to secrecy about the forbidden clips that were screened at the event, which saves me the trouble of having to write it up.
• Recorder: The Marion Stokes Project (2019): Incredible documentary about a person who seems really difficult to be close to, told mainly by her surviving staff—sort of like Filmworker. Soon to be supplemented by the amazing collection of data Marion Stokes spent so much of her life on. I know the feeling: sometimes you get an idea and you gotta run with it and it consumes your whole life.

  Content warning: this film includes harrowing recorded-live TV footage of 9/11, which is how I ended up seeing the second plane hit the tower after 18 years of successfully not seeing that footage.

• Kung Fu League (2018): This had some really good comic bits, especially the Batman '66-style relationship between Huo Yuanjia and Chen Zhen. It was also really refreshing how quickly the members of the titular Kung Fu League figured out they'd been transported into the 21st century, and accepted it, allowing the movie to continue.

  Unfortunately, nearly every character not in the League was tiresome. If they'd spent ten more minutes running around the movie set (great Blazing Saddles bit here) or figuring out how McDonalds works, that would have been ten fewer minutes spent with the tiresome characters.

  While doing research for this post I discovered a big conceptual problem with the nerd wish-fulfillment in this movie. While watching the movie I saw the formation of the League as a magical time-travel thing that brought real historical figures forward in time. But when writing this Roundup I learned that Chen Zhen is a fictional character. I'd assumed that Kwok-Kwan Chan in Kung Fu League was playing Chen Zhen as a parody of Bruce Lee's Chen Zhen from Fist of Fury, but he's playing the fictional character Chen Zhen come to life.

  Huo Yuanjia was a real historical figure, but within Kung Fu League he's the Batman to the fictional Chen Zhen's Robin: another Fist of Fury reference. And he and Wong Fei-hung (real person) are rivals for the heart of Thirteenth Aunt (fictional character from Once Upon a Time In China). So I give up on the time travel idea, and figure the magical event at the center of this movie actually calls forth Last Action Hero-style versions of these fictional/fictionalized legends from the Shared Cinematic Universe they all inhabit.

  Except a) the nerd in this movie is a comics artist, not a filmmaker, b) at the end of the movie the Kung Fu League "goes back" to... being fictional? and c) there's a joke I don't get about Ip Man which is probably really funny but which seems to make it impossible to formulate any coherent explanation at all. Which, I must admit, good job leaving it all on the field, comedically speaking.

Mon Nov 18 2019 19:02 NaNoGenMo 2019: "Linked by Love": This year I'm writing and announcing my NaNoGenMo project before November is over! "Linked by Love" is made from cunningly juxtaposed paragraphs of romance novel back-cover copy. Back-cover copy is some of the hardest stuff for an author to write, and it's basically treated as ephemeral, so it was fun to sort of give it its due in this project.

I originally had a much different book planned, something that would take a single individual on a universe-shifting journey, but it proved very difficult to determine the relationship between the referent of a sentence and the gendered pronouns in the sentence. Gender is very important to romance novels, so instead I let the proper nouns do the work and left the precise relationship between Carlotta_n and Carlotta_n+1 a mystery for the reader to fill in.

(1) Sat Nov 02 2019 13:45 October Film Roundup: I saw a ton of movies this month and there was something fun or interesting in almost all of them! Here's the scoop:

• Puppy Love (1985): A.k.a. "Dou qi xiao shen xian" Sumana and I watched this on a date back in September and I forgot about it, even though it's really fun! It came back to me because Gregory's Girl (see below) is similar in a lot of ways. It's basically a sequence of skits. The skits are funny and cute, with lots of female eristic energy a la Celine and Julie Go Boating. There seemed to be a strong "you had to be there" element: others in the theater were laughing really hard at what appeared to us as random Hong Kong 1980s stuff.

  This movie's pretty obscure, to the point where the best English-language description is on the Metrograph web site announcing the showing we saw. I recommend this film but not sure how you'd go about seeing it.

  BTW films I see at Metrograph are at high risk of being forgotten because I don't see a lot of films there and they don't have a convenient "everything we showed" list I can go through at the end of the month. I remember them eventually though!

• Gregory's Girl (1980): This is the same kind of funny, cute, skit-based high-school romcom as Puppy Love, with one big asterisk: there's a skit early on where a teacher talks about his female students in a really gross way. Fortunately this doesn't become a theme, but it changed the tone of the whole movie.

  I'm not even talking about the boys being gross. Teenage boys are frequently horny and gross, you can get comedy out of that, and although I'm glad this isn't the main goal of Gregory's Girl—it certainly isn't the high point of its comedy—I think they did an okay job with it.

  Because it's so great that so many of the characters in Bill Forsyth movies are good-hearted, the appearance of a creep is more of a bummer than it would be in another movie. Burt Reynolds' character in Breaking In has one moment of creepiness which is earned in a character sense but brings the mood down a bit. Judging from IMDB reviews, my attitude about this doesn't bode well for the 1999 sequel to Gregory's Girl, in which a grown-up Gregory inherits the mantle of the creepy teacher from the original movie! Boo.

  Anyway, the last act of Gregory's Girl is ambiguous in a way I don't associate with romcoms, but I think what happened is that another girl has a crush on Gregory and so gets her friends to basically heist Gregory out of his date with Dorothy. And because he's so easygoing and trusting he doesn't even realize he's been heisted. That's really clever. That's the kind of thing I come to a Forsyth movie to see.

• Gaslight (1944): The ultimate trope namer. I feel like you could have explained gaslighting to, say, Shakespeare, and he would have recognized it, but it took the era of the Big Lie to bring it into consciousness and another 25 years for it to become a term of art. BTW I also feel this way about the card game "Dominion". It could only have been invented in the 21st century, but you could explain it to someone from the 1920s and they'd totally get it (although they'd be annoyed by the sheer number of cards).

  Anyway, the movie. The first half is masterful in setting up the suspense but the back half is... a police procedural? This dude isn't even manipulating the gaslight to mess with his wife; it happens by accident. On the plus side: Angela Lansbury's film debut!

  (TV Tropes claims that Petruchio gaslights Kate in The Taming of the Shrew, and it is a similar form of manipulation, but I don't think he's trying to get her to doubt her own sanity.)

• Beetlejuice (1988): Without a constraint like historical fact (Ed Wood) or a time-consuming filming process (The Nightmare Before Christmas), Tim Burton movies are at risk of heading off into a ball pit of cool but disconnected ideas. This film jumps into the ball pit almost immediately and we get some fun set pieces that make me think this film would have been better as a series of shorts.

  The third act, in particular, has a lot of scars on the screenplay where they cut all the exposition. Of course they still had time for Beetlejuice to set up this goth shotgun wedding with Gregory's Girl-age Lydia—just no time to convince the audience that it would solve any plot problem. It's clear Beetlejuice is exactly the sort of person who would do this, so at least it makes logical sense, but it's less clear why they followed up this movie with a children's cartoon—the main thing I remember about Beetlejuice from my childhood—where Beetlejuice and an aged-down Lydia are best pals. I guess that comes from the same place as the Robocop cartoon.

  Uh, to say a nice thing about this movie: the main villains are redeemed, and one of them is even redeemed before the ending. I've also heard good things about the Indian remake, Beteljuice.

• The Informant! (2009): Up until the end of the opening credits I was assuming this would be like The Conversation, possibly because of Matt Damon's dorky moustache, but I wasn't disappointed to see a much different film set in the 1990s, in an office culture that I got the barest glimpse of tagging along with my father to clients and working my first summer programming jobs. I liked the twists and enjoyed watching Scott Bakula's long-suffering FBI agent. I laughed really hard at "You don't know how to read a lie detector!"

  Sumana had seen this movie already and when I told her I was watching it, provided this Bakula-ready joke: "Archer Daniels Midland is the spot where Captain Archer and Crewman Daniels agreed to meet." Yes, a Crewman Daniels reference every month, that's the Film Roundup promise!

  I see why they had to add the exclamation mark to the end of this movie's name. (The book was just called The Informant.) The exclamation mark shows that the film has a strong comedic element; otherwise it looks like a Robert Ludlum adaptation. This got me to thinking: if you have a film with a question mark in its title, but you also add an exclamation mark, does it cancel out the (totally imaginary) question mark curse?!

  I found about 30 feature films on IMDB that have adjacent question and exclamation marks in their title, but the only ones I recognize are The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies!!? and What the #$*! Do We (K)now!?. So it looks like a reliable signal of a very bad movie.

• My Dinner With Andre (1981) This film hasn't aged well (the subject matter is... very Age of Aquarius) but I was amazed by how natural the dialogue feels. Gave me the vicarious thrill of listening to a smart crackpot present his theories on a topic I don't care about. Maybe his crackpot theories are correct! Who knows? Wallace Shawn was of course the big draw for me, and he doesn't have much to say until the last half-hour, but I was entertained. A production assistance credit for Troma (one of their first credits) was a nice surprise.
• Silver Streak (1976): The disappointing essence of stagflation-era comedy. After a rocky start (primarily caused by movies like this one in heavy rotation on Comedy Central) I've come to appreciate the cinema of the 1970s, but the comedies rarely make me laugh. No matter what they try, I'll never see Gene Wilder as a romantic lead or even a great comic actor. I think I found out about this from a "list of overlooked comedies" and now I'm questioning the judgement of the entire list. Plus, blackface. IMDB trivia: "Richard Pryor was uncomfortable with the scene." No kidding! Oh yeah, Richard Pryor's in this, eventually.
• Hausu (1977): This has a lot of stuff I don't like in horror movies (like... horror...) but it's so over the top and ridiculous I can't stay upset. My favorite scene was at the beginning where the backstory is laid out in a different filmic style. Every Disney animated feature does that now, but it doesn't happen a lot in 1977. And Hausu does it in an unusual way: one character is narrating the backstory, laying down the backbeat for the film-within-a-film we're seeing, but instead of listening to this narration, the other characters are also watching the film-within-a-film and commenting on it, MST3K-style? I guess this is to say that right from the start, Hausu is really weird, moving really fast and demanding a lot of the viewer. Once the blood effects start kicking in I've kinda had my fun.
• The Coca-Cola Kid (1985): I'm gonna put it out there: this, not Mad Max, deserves to be considered the true prequel to The Road Warrior. It was pretty fun, showcasing both the glorious high-tech of the 1980s and steampunk turn-of-the-century low tech. I can't confirm this 100% but this feels like a "low-budget non-American director gets big movie-industry money for the first time" film, a genre I'm becoming interested in after seeing Housekeeping last month.
• Little Caesar (1931): From the golden age of "every screenplay is based on a novel, and we're going to show you a picture of the novel on the title card". Also from the golden age of opening with a Bible quote, perhaps to appease the Hays office. I watched this because I really like Edward G. Robinson in non-gangster roles but I hadn't really seen the gangster roles he's best known for. It's a "great" performance—sixty years later, Robinson's accent still meant "gangster" at my middle school—but I think this movie is now basically obsolete. You got The Godfather series and both versions of Scarface telling this story with better character motivation than "gonna do some crimes, see?"
• Key Largo (1948): "Let's rip off the last scene from Key Largo, Mitchell!" That was going through my head the whole time, so suffice to say I knew how this movie ends. Has aged better than Little Caesar, with some nice noir moments regarding corruption and human weakness. Johnny Rocco has a super-petty speech about how ungrateful are the politicians he buys, which is exactly what I wanted when I went looking for "Edward G. Robinson gangster stuff".
• Re-Animator (1985): Kind of a repeat of my Reservoir Dogs dilemma: I'm not into horror films, but I am a big fan of Jeffrey Combs, who works almost exclusively in horror. I gotta at least watch the movie that started the typecasting, right? For an 80s horror flick you could do a lot worse. Combs met all my expectations: sinister with great comic delivery. The practical effects are goofy, but more "realistic" and less inventive than in Hausu. In further "random unexpected production assistant credits" news, Re-Animator has one for Rick Berman, of all people. Has anyone asked him about this?
• Gaslight (1944): A boring, train-ride-heavy first half sets up a reign of claustrophobic gothic terror in the second. A real thrill to watch. Plus, Angela Lansbury's film debut! Sumana hasn't seen the film but recommends "Just in Spring", a Yuletide fic dealing with the aftermath.

Tue Oct 01 2019 21:13 September Film Roundup: This is not a film, but in September, Sumana and I played Untitled Goose Game and loved it. Check it out. Honk!

• Dead Men Don't Wear Plaid (1982): In movie terms, this is the Crewman Daniels-esque car that Johnny Cash builds in "One Piece at a Time". The Steve Martin/Carl Reiner brand of comedy is able to drive the weirdo car a pretty good way, but I was left a bit disappointed. Like a Mel Brooks film, this is really sentimental about The Movies in a way that probably touches the hearts of those people who go in to work every day to make The Movies. But most of us have different jobs, and the technical achievement here rarely serves the comedy or the plot (in fact the plot serves it, big time). The one genre of joke I think they really nailed is the "noir narrator" joke. Just off the top of my head I can remember two great gags that came out of fooling with the narration.

  As an interesting cross-reference, the mailing list manager Enemies of Carlotta is a reference to this film.

• Steven Universe The Movie (2019): I'm reserving judgement until I see the next season of the TV show because this movie sets up one of my favorite SF conceits -- aliens living alongside humans on Earth, c.f. Constellation Games -- and doesn't do much with it. Wasted opportunity? Not if they go on to spend a large number of ten-minute cartoons exploring the topic! Otherwise... this was a fun kid's movie. I'm not a kid anymore and I know this isn't designed for me, I'm just watching over your metaphorical shoulder.
• Shadow of the Thin Man (1941): At this point we're just watching for the comic relief scenes. Dashiel Hammett doesn't have so much as a "based on an original story by" credit anymore and the mystery bits are pretty dull. Nick and Nora were fun in New York, fun in San Francisco, but in this movie they live in an unnamed split-the-difference city that feels like pure backlot. William Powell's still funny. though.

  The only thing that would convince me to watch the rest of this series is 1) Sumana might want to, 2) eventually a young Dean Stockwell starts playing the kid!

• The Phantom Carriage (1921): A century before The Good Place, there was... this. There's some cool technical wizardry (In its day, Dead Men Don't Wear Plaid was hailed as "A new The Phantom Carriage"), and it's always nice to watch a silent film with live accompaniment, but overall I wasn't sold on the melodrama and the moralizing. The museum handout intepreted the whole supernatural element as a metaphor for the main character's alcoholism, and although readings like that generally annoy me, I think it makes a lot of sense here.

  Having to drive Death's carriage for a year seems horrible, what with being endlessly confronted with human frailty and misery, but is it really worse than spending that same year in the Bad Place? One of many worldbuilding questions not considered by this movie, perhaps confirming the "metaphor for alcoholism" theory.

• Comfort and Joy (1984): This was my introduction to Bill Forsyth, who's already one of my favorite directors. I'd never heard of him before this month. Now I've seen three of his films (see below) and am eager to see the rest. His work is really consistent, but he doesn't have a ton of credits and hasn't directed since 1999, which made me suspect an Elaine May "movie jail" situation. Best I can see looking around the web is he just got tired of making movies.

  Getting down to specifics: Comfort and Joy is a light comedy about mob violence where nobody gets hurt. It's all property damage. I'll say two negative things about it: the ending is really slight and although any resemblance is purely coincidental, etc. etc., there was real ice cream mob violence in Glasgow around this time and it's hard not to see this movie making light of it—a criticism that would have less bite if the movie was more satirical and less fluffy. Apart from that, a really good time.

  As in many movies, there's a dream sequence in Comfort and Joy that is shot as though it were actually happening, ending with a smash cut to the sleeper waking up. Unlike most movies that do this, here we've also got a second dream sequence featuring the same characters, in which one of the characters is loudly suspicious that this is a dream, is finally convinced it's not, smash cut—they were right, it was a dream. Pure comedy... I'm gonna say comedy thallium.

• Breaking In (1989): I saw this one with Sumana and it blew us away! Great gags, great performances, a good heart, minor characters get their chance to be funny, awesome Portland locations. Sumana proposed this film as a model for Breaking Bad, and it's very plausible. Unlike a lot of stories of mismatched partners, it's clear here what each party gets out of the relationship, and at the end they both think they've come out ahead. Overall I'd compare this to Big Business—a hilarious but forgotten 80s comedy that's miles ahead of most of the stuff people remember. It's even got some subtle Edgar Wright-style jokes—(Delphine:Carrie::Ernie:Mike):::Shaun:Yvonne. Yes, I had to use parentheses and the rarely seen triple-colon to explain that analogy.
• Housekeeping (1987): This movie was not a laugh-a-minute crime comedy, so I didn't love it as much as Comfort and Joy and Breaking In, but it was solid. I was taken aback by the audacity of flooding the set, something I don't think I've ever seen. Though I imagine most movie ships are sets that can be flooded. Anyway, good mischief—comic and otherwise—in a less comedic universe than the other two Forsyth movies I've seen.