Sat Jan 01 2022 21:31 December Film Roundup:
- Hudson Hawk (1991): A case study in exactly what you can and can't get away with simply by being a big movie star. You can get your movie made, and indulge all your midlife-crisis fantasies, and make it pretty much as quirky as you want, so long as the screenplay fits precisely into the standard Hollywood act structure. But the movie won't make money. We had a good time, but a lot of it was MST3K-style cheesy fun rather than "this movie is great" fun, so I understand why it has a bad reputation. Everyone's acting is over the top, but only Sandra Bernhard is hilariously so.
- Looper (2012): Rian Johnson made the bold decision not to license a random Phillip K. Dick novel for this, and I salute him for it. A good, entertaining story, although the secondary characters were more interesting than the primaries.
"Oh no, she's gonna get fridged."
"This is a time travel movie. She can get fridged multiple times!"
- Red Notice (2021): Meaningless fun, with a level of self-indulgent "let's set up fun things for the cast and crew to do" that reminds me of a number of the other films in this month's Roundup. I precisely predicted the timing of the final twist, but not the twist itself, and how much credit can I even take for the timing? This screenplay has the same structure as Hudson Hawk.
- Giants and Toys (1958): I missed my chance to see this in a theater (Film Forum?) before the pandemic, and watching it with Sumana is a reminder that our taste in arthouse films are a bit different. This had a decent satirical edge, but I was hoping for something more in the vein of Will Success Spoil Rock Hunter? (1957)
- Single All The Way (2021): I've now watched enough of these holiday roms-com that they're jumbling together in my mind especially because it feels like they were all filmed on the same sets. This one's pretty fun, it's not the one with the rock climbing, but what does it have? Skiing, I think? Big points on the screenplay innovation of running the "fake boyfriend" play without ever making a character lie to their family.
- A Bigger Splash (1973): I don't have many good things to say about this rather boring film so I'll just go over them: Not many artist biopics dare to show full-frontal nudity of the artist. The film now has a very interesting documentary aspect when it comes to 1970s gay culture. The bits where the subjects of David Hockney paintings recreate the poses in the paintings were always funny.
- Schmigadoon! (2021): This was basically a movie cut into twenty-minute chunks so I'm putting it here rather than giving it a Television Spotlight. This was a lot of fun with its loving mockery of classic musicals. It's no The Good Place but it scratches the same itch—basically Pleasantville for grown-ups. BTW if you like Cecily Strong as a doctor's SO in a musical parody of antique sitting ducks, don't miss this 2018 SNL skit and its sitting duck.
- Guys and Dolls (1955): The film that single-handedly enforced the gender binary throughout the Eisenhower years. Are you guy or doll? Pick a side! Fortunately, we live in more enlightened times.
Obviously Schmigadoon! made us want to watch a real classic musical, and this was at the top of our list: famous, sounded interesting to both of us, neither of us had seen it. We have tickets to a Broadway show that we've been looking forward to for a while, but I'm not feeling super optimistic right now. At least we can enjoy a miscast Marlon Brando and a seething Frank Sinatra in the comfort of our homes.
- Psych 3: This Is Gus (2021): As the title implies, the Psych films have become less mystery-focused and more of a soap opera where we periodically check in on the beloved characters. We'll keep watching but this can't be getting the franchise any new fans, can it? For this one, a number of people Zoom in their performances, including Kurt Fuller. Stay safe out there!
(2) Wed Feb 09 2022 18:40 The Crummy.com Review of Things 2021:
Still alive and healthy, though that seems less of an accomplishment than last year. Looking through photos from 2021 shows some outings, some visits with friends and family, but thinking back on it it just seems like an annoying haze. At least we have Things, and the Review thereof, to keep us company:
The crummy.com Books of the Year are: Endless Frontier by G. Pascal Zachary, Red Plenty by Francis Spufford, Piranesi by Susanna Clarke, and Becoming Trader Joe by Joe Coulombe and Patty Civalleri. All good stuff.
As is traditional, Film Roundup Roundup has been updated. I had no problem coming up with a top ten for you, thanks in large part to '80s Month, which brought in a lot of classics I'd never seen:
- The Color of Money (1986)
- To Be or Not to Be (1942)
- Ruthless People (1986)
- Kiss Me, Stupid (1964)
- Private Benjamin (1980)
- Bob le Flambeur (1955)
- Trading Places (1983)
- Speed (1994)
- Outrageous Fortune (1987)
- Smokey and the Bandit (1977)
The Crummy.com Game of the Year is the fairly obscure Uurnog Uurnlimited, which sets up a traditional platforming challenge and lets you break it however you want. Runners-up:
Slipways and Dicey Dungeons, as well as good old Spelling Bee and Wordle, which Sumana and I like to play collaboratively.
I spent less time in 2021 than in 2020 playing games, and more of that time on the best games of other years, especially Noita. My Noita fun ended with a bang, when I ended up in an incredible seed (470656790 -- try it out!) which basically let me legitimately see everything in the game I wanted to see.
My story "Mandatory Arbitration" came out in Analog, and I sold both of my non-bad 2020 stories: "Stress Response" and "When there is Sugar", to appear this year. (I actually just sold another story, but that happened in 2022, so more on that later.)
The Constellation Speedrun is still proceeding forward in a very un-speedrun-like manner. I wrote three stories in 2021: "The Coffeeshop AU" plus two Ravy Uvana stories, "The Letter of the Law" and "The Scent of the Governed."
(1) Thu Feb 10 2022 19:03 January Film Roundup:
- Local Hero (1983): Another excellent, gentle Bill Forsyth comedy built on a near-Billy Wilder darkness and cynicism. Not saying much about it because you should just watch it.
- Kal Ho Naa Ho (2003): Sumana took a few introductory Hindi classes through the local library, so we watched a lot of Bollywood this month to get a little immersion. Looking back at it, this movie was just okay, but our enjoyment was greatly magnified from being set in New York City and watched in the deep of winter at the height of the Omicron surge. We were constantly pausing it and playing games like "Mock the Geography" and "NYC or Toronto?" For the record, I believe only one shot was actually filmed in Jackson Heights -- the brief vox pop outside the produce market.
Highlight: the epic, hyper-American "Pretty Woman" street party dance number ("They should show this in the line for Customs." - Sumana). Lowlight: everything else Shah Rukh Khan's character does. ("This guy is annoying." - Sumana (paraphrase))
- My Favorite Year (1982): A very fun period comedy of the sort it's hard to imagine anyone making nowadays, partly because the corresponding Favorite Year would be 1994. It's super-sentimental about a bygone era of entertainment in a way that just wouldn't... what's this? My Mel Brooks sense... tingling!
Likewise, the film My Favorite Year (1982) is loosely based on Brooks's experiences as a writer on [Your Show of Shows] including an encounter with the actor Errol Flynn.
That explains that!
- Queen (2013): By far the best Bollywood film we saw this month, a female-empowerment film that's also a fun tour of Europe. Rajkummar Rao takes a villain turn, and is believably obnoxious and entitled.
- Ek Ladki Ko Dekha Toh Aisa Laga (2019): A queer rom-com that builds empathy using a Hamlet-ish play-within-a-play ("can you play The Wedding of Gonzago?") and has a nice twist where you think Rajkummar Rao is the romantic lead unless you already know how act two is gonna go, which Sumana did and I didn't. This was the movie where we noticed that Rao, although good-looking enough to play the romantic lead, seems to prefer roles where "romantic lead" is a psych-out: he's an entitled jerk (Queen), he's wrong about being the romantic lead (this film), or the romance just isn't important to the story (Newton).
- Chandigarh Kare Aashiqui (2021): A second queer rom-com, with a wackier tone than Ek Ladki Ko Dekha Toh Aisa Laga. This one builds empathy by showing you real-world news clips, which is the exact opposite technique of play-within-a-play, and would be like me reviewing this movie by quoting other reviews of it. Always nice to see the stock film character "supportive parent(s) of queer character," whether played serious as it is here or comedically like in Booksmart.
There's another stock film character who always shows up in twos, and I can reliably get a laugh out of Sumana by referring to them as "Merry and Pippin." Anyway, there's a Merry and Pippin in this film. See also, e.g. Logan Lucky (2017).
- Eye of the Needle (1981): A thriller that was all right but gave me a good thrill about halfway through when the two plots joined up. It's one of those "everything goes wrong for our competent main character" films, except, twist: the main character is a Nazi and we're rooting for the "everything goes wrong" side of the ledger. Double twist: everything goes wrong for everyone, resulting in ruined lives all around. At least the timeline is preserved.
- The Friends of Eddie Coyle (1973): What if crime... but very little grime? This is one of the cleanest-looking 1970s crime flicks I've seen. Lots of suburban banks, roadside parks, spacious parking lots... Even the bar, the bowling alley and the diner are clean. (And that bowling alley has a hell of an arcade, though you only see it in a quick pan.) Nothing's stylish like in The Godfather, just shabbily respectable. A good choice for a film on the classic "no real difference between crime and business" thesis, a film where people betray each other without raising their voices and the most objectionable thing that happens is that one of Eddie's guns gets used.
Sun Mar 06 2022 20:07 February Film Roundup:
- Werewolf of Washington (1973): The summary of this film promised a level of political satire which was not met. An early illustration that quoting the catchphrases and quirks of a hated political figure is not intrinsically satirical or funny. (A lesson that, alas, still eludes us.) The screenwriter/director is well-informed enough to base the main character pretty closely on William Safire, but doesn't really know what the President does, or knows but wasn't able to work it into the screenplay. In this film, POTUS is basically the mayor of Washington, D.C.
Considered as a lowbrow comedy rather than a satire, this is... still pretty bad. But I laughed and laughed at the scene in the White House bowling alley, where the President spouts platitudes as Dean Stockwell's character gets his wolfman fingers stuck in a bowling ball.
- The Laughing Policeman (1973): A pretty good police procedural starring San Francisco public transit. Bolsters my hypothesis that in the early 1970s, it was easier to shoot a "big American city" movie in San Francisco than New York. There are a lot of location shots in this film that would have been really difficult to get in New York. Walter Matthau is nice and jowly, and Bruce Dern makes a plot point out of the fact that the 1970s cop mustache is the same as the 1970s gay mustache.
- Close Encounters of the Third Kind (1977): This is a film where not much happens, and also a film where everyone these days goes in knowing the ending, but damn if it's not engaging for almost all of its nearly two-and-a-half-hour runtime. For a lot of films made between 1975 and 1985 I can be entertained just watching the set dressing, and the set dressing here is top-notch.
I was really skeptical of the decision to give Francois Truffaut a major acting part, but it works. "This character needs a translator" is a dynamic you don't see in films very often, and they play it naturally while also getting some good gags out of it.
- Evolution (2001): Like Spaced Invaders passim, this is one of those bad sci-fi films I've always kind of wanted to watch even though I knew it was bad. The difference is I could have easily seen Evolution when it came out, since I wasn't in high school, but... I just didn't get around to it, I guess. Anyway, I had the right idea. In a sign of my own growth as a critic, if I had seen this in 2001 I would have been very upset by the inaccuracies surrounding the mechanics of evolution, but for me in 2022 that's far from the worst problem with the movie.
It's not bad at the start, when the stakes are no higher than the egos of a couple of professors, but it rapidly escalates into a world-saving thing and I don't care. But then Dan Aykroyd reads the phone book for a while; that's fun.
According to IMDB trivia, it was Julianne Moore's idea to give her character a character trait. Good thinking! PS: Shout-out to the Hallucigenia reference.
- Moon 44 (1990): This is a bad film that is interesting theoretically but not in practice. Roland Emmerich, a German living in West Germany, made a Hollywood-style film in English to try to sell it to Americans. Sort of like if Billy Wilder had directed Bringing Up Baby before fleeing Austria. And it's really believable! Moon 44 looks just like the American movies it's ripping off (Blade Runner, Aliens, and of course the big S. W.). It even does a good job of catching the 1990 Hollywood zeitgeist a la Total Recall. When Moon 44 flopped, Emmerich eliminated the middlecountry and just started directing American movies, including Independence Day, a film that feels like the much better second draft of this boring movie.
I did not finish this and can't recommend it at all. I think I made it about 45 minutes in? I started longing for Mike and the 'bots (Joel wouldn't have bothered with this film), and not long afterwards I bailed out. The visual effects look great, very crunchy and Turnbull-ish, but only so long as you're looking at screenshots and not watching the film itself.
Sat Apr 02 2022 12:25 Two Spacesuits:
My story "Two Spacesuits" is published in the April 2022 issue of Clarkesworld! I wrote "Two Spacesuits" in 2017, and over time the subject matter—your normcore parents join a self-medicating Internet cult—has only become more and more relevant. I made a few minor edits in late 2021 to set the story during the pandemic, instead of the sprawling 21st-century untime you see in a lot of these stories, but everything apart from the obvious "curbside pickup" type stuff was there originally. Thanks to Neil Clarke for picking up the story.
"Two Spacesuits" has a heavy focus on one of my big writer themes: cognitive dissonance and the defense mechanisms we deploy to deal with it.
“You’re still doing it! Oh my God! You make up these stories to explain your behavior to yourselves. When one story falls apart you just switch to another one.”
As a writer I hope I don't come off solely as an observer of human frailty, but this is one of my favorite kinds of human frailty to observe. There's a bit of this in Constellation Games when Ariel and Dana are talking about Curic's ambivalence:
“We'd pick an option at random and create post hoc rationalizations,” said Dana. “Humans do it, too.”
In Situation Normal, Evidence causes this behavior as a side effect (this is why Evidence is called that!), and this is most clear in "We, the Unwilling," the SN bonus story, where Evidence pushes the POV character into ever more extreme states of cognitive dissonance:
“You ask the Internet about Captain Jim Kirk,” said Nor firmly, “and then we can do business based on a shared understanding of the facts.”
“I don’t want to,” said Kenta. There was nothing else to say. The only possible next step towards completing the mission was to avoid certain pieces of information.
Can readers expect a respite from further explorations of this concept in The Constellation Speedrun? My sources say no.
Sat Apr 02 2022 13:22 March Film Roundup:
A real big month for movies that each parody a lot of other movies. But a real small Roundup of such movies, only two:
- Support Your Local Sheriff (1969): While watching this milquetoast comedy I started to think that Blazing Saddles might specifically be a parody of it, but when looking at IMDB afterwards I decided they're going after the same cliches, and Blazing Saddles gets to the heart of the matter in a way that makes Support Your Local Sheriff hardly seem like a parody.
I've made fun of Mel Brooks's sentimentality before, and I will do so again, but the best parody comes from a place of deep love for the thing being parodied, and I did not feel that love with Support Your Local Sheriff. It felt more like an ancestor of the Scary Movie franchise. There were a few good gags, but damn if I can remember what they were.
I think Blazing Saddles first came to mind while watching this because both films use the technique of letting the joke run way too long—the mud fight in Sheriff, the bean dinner in Saddles. I almost never like this. I guess Space Ghost Coast to Coast pulled it off a couple times.
To say something nice about Support Your Local Sheriff: James Garner's character does try really hard to resolve situations nonviolently, in an almost Star Trek way. But is that supposed to be admirable, or part of the joke?
- Walk Hard: the Dewey Cox Story (2007): From the sunset of the "toss some super offensive gags into this comedy, it's fine" era of Hollywood, to be followed by the dawn of "offensive gags are okay so long as the characters are seen to take offense." Overall this was really fun, less because of the source material and more because it's a wide-ranging comedy that doesn't care about presenting a coherent world because it's parodying other movies.
To draw a comparison to the "let the joke run way too long" thing I mentioned earlier, let's discuss Eddie Vedder's cameo in Walk Hard, where he gives a rambling introduction speech. I can see the argument that this is the same type of joke as the bean dinner in Blazing Saddles, but I beg to differ. In fact, I demand to differ! The screenplay starts off with a few pure repetitions, then starts mixing up the rhetoric as you understand that this is a joke based on repetition, and then ends when it runs out of good ideas. Versus a physical comedy bit that's just the same thing over and over.
Sat May 07 2022 12:04 April Film Roundup:
- The Quiet Earth (1985): Watched this for free on Youtube because Kris mentioned it, and it really is a very Kris movie. The sort of movie you show your kid when they're ten if you're engaged in an experiment to create another Kris. However I can't recommend it wholeheartedly. There is a very distinctive climax to this film about half an hour in, and the rest of the movie is less cool and a bit anticlimactic. Cool ending though.
- Scott Pilgrim vs. the World (2010): We watched this because it came up on Framed and Sumana hadn't seen it. I saw it in the theater, pre-Film Roundup, and it holds up pretty well. In fact some of the cinematography that used to read as explicitly videogamey now just looks like Marvel-style action movie stuff, indicating a Man with a Movie Camera style triumph.
I wasn't the biggest fan of Allison Pill's performance in season 1 of Star Trek: Picard, but I loved her work in season 2 when Dr. Jurati hum-de-dum with the spoiler lady. I guess you could say I've been allisonpilled. Anyway, it was a big surprise and treat to see her as Kim Pine in this film, and to then notice how her performance in Picard uses those same moments of frustration and sarcasm.
- Downhill (2014): We borrowed the DVD from some friends who'd joined Sumana on the Coast-to-Coast Walk dramatized in the movie. As we started to watch the film, Sumana got out her maps and paraphernalia for her walk... which included a postcard advertising this movie! Sadly, that was the highlight of the evening.
Downhill leans heavily on the walk as a natural through-line, and the plot is very episodic and haphazard. Which would be okay except the movie also has the all too common problems of "no one's particularly likeable" and "one super d-bag spoils everything," so why keep watching? The answer proved to be Jeremy Swift (Higgins from Ted Lasso), and the nature views, which were spectacular.
- Departures (2008): I couldn't remember the name of the movie because Passages is a better English name. Even when I knew that wasn't it, my mind kept filling in "Passages" and I had to do some embarrassingly specific search like
japanese film funeral washing best foreign picture. Anyway, this is a nice little film. Also very episodic, but I didn't mind because everyone tried their best instead of being a jerk. There is a lot of scenes where people grieve a dead loved one but they found different ways to show it so it doesn't get repetitive. Content note: it's possible they killed an octopus for this movie. I stopped watching Iron Chef altogether ten seconds after the Chairman unveiled those tanks full of octopus, so I'd want to have known.
Sat Jun 04 2022 19:07 May Film Roundup:
After nearly ten years, it finally happened: we watched a movie on the last day of the month solely so I'd have something to put in Film Roundup. A busy month, I guess, with our viewing time spent on Better Call Saul (chilling!) and Strange New Worlds (excellent!).
- L.A. Story (1991): An excellent, funny, surreal rom-com. I don't know if there's any box-office truth to the stereotype that men only watch rom-coms when obligated to by "the old ball and chain", but I do like this genre a lot better when the humor has some edge (like Remember the Night (1940) or Intolerable Cruelty (2003)), or when it's really weird and goofy, as it is here. Great humor, solid emotional beats, and good chemistry, as you'd hope for when your two leads are married IRL. Also, Muppets-style cameos galore, a tradition that I wish more comedies would adopt, except sometimes bad comedies do it and it just makes me dislike them more.
Tip for screenwriters: early on, this film establishes a platonic friendship between the male lead and a secondary woman character, solving what we in the rom-com-ology business call the "Clark Gable conundrum" and priming the viewer to read his wackiness as eristic.
We saw this on DVD, and the DVD seems to have been made around 1997, which is early enough for not-that-entertaining "special features" and Easter eggs, but not yet in the golden age of historically useful director commentaries.
SanDeE*'s name is not given its proper respect in the credits (Sarah Jessica Parker is just credited as "Sandy"), but it's correct on the IMDB page.
Fri Jul 01 2022 20:33 June Film Roundup:
In June, the theme was "wacky comedies." I am pushing for the theme for July to also be "wacky comedies," but running into some resistance. We may end up splitting the month, Solomon-style.
- Bill & Ted's Excellent Adventure (1989): Silly and fun, and I didn't expect what a big heart this movie has. My mental stereotype of Bill and Ted was that they were idiots, a more lovable version of Beavis and Butt-Head, but they're not idiots at all; they just have a learning style that flourishes under independent study instead of classroom lectures. I'm also down for any movie that features chaos in a mall (e.g. Dawn of the Dead (1978), which I didn't put in Film Roundup because I didn't see the whole thing, only the mall part; such is my commitment to mall chaos).
- Bill & Ted's Bogus Journey (1991): Another pleasant surprise! I'm grateful whenever a successful franchise really shakes things up and goes into a different direction for the second outing, like with Castlevania II: Simon's Quest. Speaking of which, Sumana and I are both big fans of William Sadler as Death. I will venture that working a big in-joke into your screenplay based on a typographical error in an earlier draft of your screenplay is a very bad idea... and yet this is somehow a stone I'm not comfortable throwing.
- Bill & Ted Face the Music (2020): This one was not that surprising, but it was definitely enjoyable and they came up with some new time travel gags along with resurrecting old favorites from the first film. I loved how they showed that really nice people don't need to become cynical as they age, but that relentless niceness and positivity can become suffocating. Basically this movie did a good job tying up loose ends that most people probably didn't feel needed tying.
There's a cameo in this film that's quite brief—I think this person is on screen for about two seconds—but acts as a perfect punchline and solution to a plot puzzle. Great cameo. Now that I type this out, though, there was also space for a cameo by Cameo; a missed opportunity.
Possibly the best line in the film is "Welcome to, and sorry about, Hell." Really captures the handoff from one generation to another.
- Hindi Medium (2017): A departure from the month's theme, more of a dark comedy, with lots and lots of unsubtle social commentary. A lot of Indian movies are loose remakes of American or European movies, but you could adapt this into an American movie without changing much at all, since India and the US have the same relevant problem.
Adding to the growing list of "stock characters Leonard likes": the secretly corrupt or hypocritical authority figure who talks the talk well enough that for a couple of scenes you think they might be for real; e.g. Principal Lodha in this movie.
- Coming 2 America (2021): Very similar feeling to Face the Music, with a father learning to pass the torch to his children and unnecessarily tying up loose ends. It was definitely good to see Cleo McDowell return with his trademark skirting of trademark law. I bet his influence means that Zamunda's intellectual property laws aren't that strict... they might not even be in WIPO!
- The Lost City (2022): A very enjoyable film with Sandra Bullock doing her usual action/romance/comedy thing. Mainly made me want to re-watch Romancing the Stone (1984), which was a Mom rental choice in the late 1980s and which I saw before I understood what "romance" was. Kind of an important key to comprehending a romantic comedy! Anyway, all the actors are having a good time, it's fun.
Side note: it seems a lot easier to get Brad Pitt to be in your movie if you can promise his character will be quickly killed off. (See also: Deadpool 2). Sure, it makes sense, but it seems more brutal with Pitt than with other big-name actors. Jeff Goldblum was only in a couple scenes of Thor: Ragnarok, but he accomplished this by stepping offstage for most of the movie and having a long lunch.
Side note #2: Beth, Loretta's publisher, goes way beyond what any of my publishers would ever do for me, and beyond even what I'd imagine Nora Roberts' publisher doing for her. In fact, when I saw a trailer for this movie a while ago, I assumed Beth was Loretta's wife, based on her determination to find her and rescue her. This lead to some intense expectation shear in the first ten minutes of my viewing.
- Royal Wedding (1951): A forgettable cash grab except for a couple interesting things. First, this film is in the public domain because the copyright registration wasn't renewed. Second, that ceiling dancing routine! So fun!
I'd heard of the ceiling routine and remember reading some years ago that the exact mechanism used to film it was a closely kept Hollywood secret, but after seeing it, that seems like a cocktail of hogwash and flimflam. We watched the scene once, formed a hypothesis (they rotated the set and camera in sync), and went back and rewatched. We saw nothing inconsistent with our hypothesis, which we later confirmed through Wikipedia.
Not only that, this solution is telegraphed by an earlier scene where they tilt the set floor during a dance routine to simulate a ship's deck. Basically, this seems like a secret that couldn't have survived the invention of the VCR, or being a projectionist in 1951 and seeing the scene every night. Maybe Fred Astaire was right and it really was a more innocent age.
You know what? It was a more innocent age, because in most Fred Astaire movies, Astaire's dance partner is presented as his girlfriend or his wife, but in this movie Jane Powell is playing his sister. In the show-within-a-show they're billed as "Tom and Ellen Bowen," and the only reference to how weird this looks is one random joke. I'm sure it reads just fine in the screenplay, where the dance sequences are just [DANCE SEQUENCE GOES HERE], but the dance sequences in the finished product have Tom and Ellen Bowen enacting stereotypical pornographic scenarios like "I'm the king and you're the housemaid" and "we are literally a romantic couple." In fairness, royal weddings and incest do traditionally go together.
- Shrek (2001): Yes, we got Shreked. Is that a thing? It is now! See, if you Shrek your downline, then when they Shrek their downline, you get a percentage of all the Shrekitude! This could be you in the bright green Cadillac!
Apparently I'm supposed to review Shrek as a movie? It's bad. The concept is fun, there's some gags, it picks up near the end... But the main characters are annoying and the visuals are ugly. Shrek is the best-looking humanoid in this movie. To be fair, they bit off more than their 2001-era CGI teeth could chew. But when I picture this movie re-modeled with better CGI and rereleased with the same sound track, I don't want to watch that movie either. That hypothetical movie seems worse, because there is a certain charm to bad CGI and I'm impossible to please. That reminds me, I want to watch Lawnmower Man.
- Shrek 2 (2004): Despite the disappointing Shrek Sumana wanted to watch this because of a post she saw on Tumblr that said the sequel was way better than the first movie. That's definitely true! The CGI is much better, as are the gags, and there's even a subtle mystery (what's up with the king). Basically, Shrek walked (made fart jokes) so that Shrek 2 could run (do character comedy).
Actually, there's a joke I didn't get until just now! The fairy godmother is a crime boss... like the Godfather. I didn't notice because they don't hit you over the head with it like in Zootopia. So, good job, Shrek 2.
We will not be watching the other two Shrek movies, because that Tumblr post said they were terrible, but I admit a sick interest in knowing at what point they bring back "All Star" for the meme.
- Roxanne (1987): We closed out the month with another quality Steve Martin rom-com. This and Spaceballs (also 1987) are among the first movies I remember being 'new'—there were ads for it in the paper, and later on it showed up in the video rental place, and that's how I experienced movies until college. I guess what this says about me is, I started reading the newspaper in June 1987. Anyway, decades passed, I've now seen the film and it's quite fun. A little bit tame, maybe, but enjoyable. Good job making the lead character a firefighter rather than a cop, and we also enjoyed the subplot about the discovery of a comet. It's a good all-purpose subplot for a character who needs a little punch-up. Just think how much it would improve Shrek if Shrek and Donkey were rival comet hunters!
Hall of fame riff, when C. D. Bales can't drink from the wineglass and asks for a straw: "He did not expect that."
(1) Sat Aug 06 2022 14:48 July Film Roundup:
- Romancing the Stone (1984): I said I wanted to watch this last month, and we did, and it was a disappointment all around. Diane Thomas had a really good idea and would have gone on to improve the state of 1990s rom-coms if she hadn't died, but The Lost City, directly inspired by this film, does a better job in every respect except for some excellent set dressing in Joan's apartment. Danny DeVito's fun, too.
I keep thinking of cool scenes from this film but they're actually scenes that fill the same plot beats in The Lost City, that's how closely related the two movies are.
- Everything Everywhere All at Once (2022): Loved it! The first film of the pandemic era to give me an intense "movie" thrill. Fun, silly, heartwarming, lots of action. The idea of picking a Chosen One based on her all-around mediocrity is brilliant. "I'm learning how to fight like you." is a perfect line.
This was so good I'm seriously considering watching the directors' previous film, Swiss Army Man (2016), which I'd previously consigned to Trash Humpers territory.
- The Lebanese Rocket Society (2012): An interesting documentary covering the often-interlinked topics of "how did this thing happen?" and "how did everyone immediately forget that this happened?" It also starkly exposes the divide between what space travel means for average people (cool optimism) and what it means for governments (blowing up the other guy). At the end there's an elaborate counterfactual flight of fancy of the sort you don't normally see in documentaries, but I can't complain, I wrote "Panspermia Cannon".
- Dinner at Eight (1933): A very pre-Code film based on a play that's wacky and lighthearted all the way through except for one BIG HONKING SUBPLOT that's dark as hell. As if William Faulkner guest-wrote one chapter of a P. G. Wodehouse novel. Really enjoyable overall with its Wilder-esque cynical/sincere attitude towards romance.
- Chicken People (2016): A decent documentary about a weird hobby disrupted by an epidemic. Yes, at last, it's Film Roundup: The Movie! This was all right. The chickens were cute, and it didn't feel patronizing the way some "weird hobby" documentaries do.
- All of Me (1984): Our expedition into Steve Martin's golden-age comedies continues. This one has Lily Tomlin too, so it's gotta be good, though Tomlin's character spends the first act of the movie bedridden and the rest of the movie only visible in mirrors. Not her best physical comedy outing, is what I'm saying. Enjoyable overall, and also features a pretty big part for my mom's old friend Michael Ensign. (nb. this has not been independently confirmed, and my mom was known for telling tall tales, but "I was friends with that ST:TNG guest star" is a really weird thing for her to walk into the living room and lie about)
We recognized the mansion in this movie from a Columbo episode, looked it up, and found that it's the Greystone Mansion in Beverly Hills, Hollywood's go-to rental when they need to shoot on location in a real mansion. In addition to that Columbo episode, it's the mansion in There Will Be Blood and Jeffrey Lebowski's place in The Big Lebowski--though for obvious reasons Lebowski didn't film in the rooms with the huge staircases that I associate with the place.
- 50 First Dates (2004): Saw this on an airplane, making this the first film I saw outside the house since Gravity in 2020. It was a great movie for killing time on an airplane. In another example of weird Hollywood synchronicity, this is basically a much lower-brow version of Eternal Sunshine of the Spotless Mind (also 2004), but its endless iterations get at a point that I don't think Eternal Sunshine touches: there's something special about the act of falling in love, as distinct from being in love, and there's something appealing about repeating just that bit over and over. After all, romance novels usually focus on the "falling in love" bit and leave the rest to an implicit HEA.
- Encanto (2021): And I saw this on the way back. This was fun and I'm not complaining that it ran way longer than 90 minutes (airplane), but the pacing seemed off, or at least different from other animated kids' movies. We spend a whole lot of time meeting a whole lot of characters and not much time doing things. I guess it's just more psychological than similar movies that are more quest-focused, more of an Arrested Development kind of thing.
- Odds Against Tomorrow (1959): Between this and The Breaking Point (1950) it seems clear to me that just a really basic racial consciousness can really improve your film noir. This was really good, with great moments of tension, but in the finale chase it gets incredibly didactic, a cardinal noir sin in my book. As soon as you see a road sign saying "STOP DEAD END", you know what you're in for. We get it! Admittedly it's the same kind of unsubtlety you see in Star Trek ten years later, so I guess audiences do need to be hit over the head with this stuff.
- Pick of the Litter (2018): A bonus movie that we saw maybe a year ago and I kept forgetting to put in Film Roundup despite Sumana's occasional reminders to write up "the guide dog movie". No more! This is a movie that knows its audience well enough to make it clear that all the dogs end up fine. A wholesome movie, the dogs are all good, and some interesting logistical bits around their training.
Sun Aug 07 2022 15:04 The Scene of the Crime:
My new story "The Scene of the Crime" is published in the August 2022 issue of Clarkesworld! This is my second published Ravy Uvana story, after "Mandatory Arbitration", and I just did copyedits for "Stress Response", which will become the third one near the end of the year.
The first draft of this story was much more complicated, with a time loop and a parallel universe, plus with Dr. Miew denying to the end that there was any time loop at all. Way too complicated! A lot of writing the first draft is throwing ideas at the wall, and a lot of the second draft is seeing which ideas stuck to the wall and picking up the others.
Thu Sep 01 2022 21:15 August Film Roundup:
By chance I ended up watching all of August's films without Sumana, so this is a bunch of films from my huge cinematic pile of "Sumana probably won't like these." And I think I was right!
- The Horizontal Lieutenant (1962): I admit I mainly watched this movie because the title sounded kinda dirty for a 1962 Hollywood film, and I wanted to see what they'd try to get away with. In fact, I suspect this is why most of the people who've ever watched this movie decided to watch it. They don't try to get away with very much. There are some good jokes, but if you watch to the opening credits you've seen a lot of them. Then you can enjoy the classic 1960s animated opening credit sequence, and move on with your evening.
- Raffles (1939): Another film watched in the spirit of "how much can they get away with?" I read The Amateur Cracksman in the early 2000s and liked it a lot, but the mood of the stories—jewel thieves are awesome and jewel owners have it coming to 'em—seems irreconcilable with the Hays Office diktat that Crime Doesn't Pay. How would the film end? Would they tack on a jarring ending that restored the tottering edifice of conventional morality? Sort of: the ending is ambiguous. A decent ending, though. Way better than the ambiguous ending of The Devil And Miss Jones. David Niven is fun, and I enjoyed the odd moment where the cops take a break from not solving crimes to watch cricket on the office TV. Relatable!
Rififi (1955) is famous for its 30-minute silent heist sequence, but there's an eight-minute heist sequence in Raffles that's got just one line of dialogue—kind of a test run.
- The Black Godfather (1974): What if Michael Corleone had a social conscience? I guess it might go like this, but this film's "get the drugs off the streets" plotline seems copied from other blaxploitation movies and not an attempt to critique or rip off The Godfather (1972). (The other guy's definitely Vito Corleone, though.) Although this isn't a good movie overall, there are certain parts that are disproportionately good given the low budget. Half the stunts are cheesy MST3K fare, but half are really impressive and well-executed. There's a sequence shot in a coffin warehouse (SYMBOLISM) where the titular Black Godfather makes heavy use of his portable suitcase phone. They built a sci-fi Dick Tracy-esque prop out of a suitcase and a telephone and a tape recorder, and it looks pretty believable. Stuff like that.
- Repeater (1979): I forgot everything about this movie, including why it was in my queue, and I stayed mystified for the first five minutes (7% of the running time!) but eventually I figured out that Repeater is a British parody of/homage to the French New Wave. It's got a strong Celine and Julie go Boating feel, and if you start both movies Repeater will end around the time Celine and Julie gets interesting, so it's got that going for it. But it's always got a little bit of British snark that isn't present in the very sincere Celine and Julie or, let's say, Truffaut's parodies of American genre film, which is what they were really going for here. That said, I had a good time. There are bits that are super pretentious and some that didn't seem to fit the movie at all, but also some really good... I don't know the filmmaking term for those little vignettes that you string together when your movie doesn't have a through-line, but some good ones of those. Bonus: a pre-Young Ones Alexei Sayle.
Old video game notice: there's a pretty long montage set in an arcade in (I assume) Wales with lots of fruit machines and novelty games as well as some kind of Space Invaders electronic thing and a Cinematronic Space Wars cabinet.
(1) Sun Oct 02 2022 21:04 September Film Roundup:
It's an rom-com Roundup this month, with lovers being reunited and old public domain British source material galore!
- Saving Face (2004): I keep forgetting to mention this film, which we saw months ago, and this is a good month to remember it. I don't remember much about it but it was a good watch, and as I recall the family dynamics were treated very realistically.
When I was thinking of this movie it really reminded me of Kal Ho Na Ho, but I think that's mostly because they were both set in Queens in the early 2000s. Saving Face was actually filmed in Flushing!
- Fire Island (2022): I'll be very disappointed if it turns out the working title of this movie was not Prejudice and Pride, and that it changed to its current, boring title by studio interference. I have not read the source material, and had a lot of fun during the movie listening to Sumana speculate about who was who.
I was intrigued by the scene where Bowen Yang's character cringes out at a party by narrating a 'gay Star Trek' SNL sketch starring Jason Bateman. I assumed this was a meta reference to an actual SNL sketch Bowen Yang was in, but it looks like it's referring to a sketch from 2005 that is not viewable online. This implies Howie saw that sketch on broadcast TV when he was, like, 15, and it was formative for him. It took some research to unravel this, but I can now say that was a good character beat and not just an in-joke.
PS: There is a Merry and Pippin in this movie.
- 10 Things I Hate About You (1999): The Taming of the Shrew is one of the trickier Shakespeare plays to adapt into a modern setting, and although I thought this movie as a whole was only so-so, I liked its approach to the central issue of shrews and their taming. The two main characters effectively 'tame' each other by adapting into more suitable partners for each other, and isn't that what happens in a lot of rom-coms, and real relationships?
The film ends with a helicopter shot of a band playing on the roof of a building, but it's not like the Beatles rooftop concert, they're way up there and there's no way anyone can hear them on the ground. And then the helicopter swoops towards the band in what IMDB trivia confirms was a terrifying experience for them. Where are they going to run? They're on a roof!
10 Things I Hate About You was turned into a TV show, but the only actor to reprise his movie role was Larry Miller, who plays the Baptista role. This seems to happen pretty often. I assume everyone gets right of first refusal, but the stars see it as an imposition on their time and only the character actors see it as a regular paycheck.
Finally, I want to note that during this film I came up with an all-time great riff: "I've found her celebrity crush list! Jack Nicholson, Mark Hamil... Cesar Romero?"
A quick Television Spotlight: we watched Only Murders in the Building, which I think gets much better in season 2 as they stop trying so hard to ape the form they're parodying (which resulted in lots of boring subplots) and lean in to wacky, nonsensical comedy (which resulted in me enjoying a Martin Short performance for the first time ever). I will say that season 1 was more effective at the Hitchcockian finger-wagging where they try to shame you for enjoying the thing they're showing you, but no one actually enjoys that—you're being shamed!
We also watched all of The Goes Wrong Show in the space of a coupel days, and see Sumana's review for that. Just really, really funny. I appreciate that the fictional actors all have consistent characters that lead to different styles of comedy as things Go Wrong.
Fri Nov 04 2022 21:37 October Film Roundup:
- The Man from the Diner's Club (1963): Who says product placement is new? This movie is product placement. Gets a decent amount of comedy out of the concept of credit cards, some out of super inaccurate models of how 1960s computers work (Desk Set is way more forward-thinking), and there's a whole gamut of pratfalls and physical comedy. A fun watch overall. IMDB trivia spreads rumors that the film was originally intended as a Jerry Lewis vehicle, and Danny Kaye is maybe a little too old for this shit, but I just can't believe Jerry Lewis in any kind of white-collar profession. Even when his character's rich, like in The King of Comedy, it's clear he got rich being a clown.
Sumana recently showed me an old Mad About You episode where Jerry Lewis plays a billionaire, but it's very unclear how this "billionaire" acquired his wealth because he never shows any business acumen; he's always goofing off at his desk, trolling people and buying social media sites and so on. You see how Jerry Lewis has taken over this review of a movie he's not even in? Ludicrous.
The poster slogan for this movie is "You'll be hanging from the laffters at the funniest picture since money went out of style!", and I want to register that you can reuse this slogan when making comedies in a post-scarcity society. I may not live to see if, but I know it'll happen one day.
- The Cutting Edge (1992): A fun film that combines the two cinematic obsessions of the 1990s: Howard Hawks-esque hate-to-love rom-coms, and athletes playing the wrong sport. More training montages and less actual figure skating than Yuri on Ice kept me from getting sports bored. One of the rare films that suffered the "surely the Soviet Union will still exist by the time out movie comes out" problem.
- Gorky Park (1983): This film did not have that problem. I liked the police procedural elements but once the political conspiracy is revealed it seems relatively penny-ante, though I guess that too is realistic. The sets (indoor and outdoor) are great and there are a number of excellent comic relief characters, including Ian McDiarmid as a nutty professor.
- Titanic (1997): The film I felt like I'd seen, but I'd really only seen a big chunk of the first, less interesting half. The epic runtime of Titanic makes more sense if you see it as two movies: an upstairs-downstairs romance followed by a Miracle Mile-esque thriller of betrayal, personal cowardice and societal collapse. That second movie is really compelling, the first movie I found a little dull, but I admired how it carefully shows you everything that's going to be destroyed in the second half.
- The Afterlight (2021): The film with no IMDB page, and the first once I saw in the theater (at the museum, natch) since Gravity in March 2020. There are certain scenes that get written into one screenplay after another, certain shots that are reused verbatim across the history of film, and this movie mashes a lot of those up into something that can get pretty hypnotic. The unique constraints around the showing of this movie make it difficult to see, but it's worth seeing if it comes to your town; there's a fun twist at the end and the closing credits are touching.
Mon Nov 07 2022 07:43 Stress Response:
As promised, the November/December issue of Analog includes "Stress Response", a Ravy Uvana story in which Judicant Uvana helps a young human who went into space believing it would be a big, fun adventure... and who still believes that at the end of the story! Have fun!
The big change I made after my writing group critiqued "Stress Response" was explicitly explaining why the stress response happened; no one got it and without that crucial piece of information the story feels like watching someone else's vacation slides. Many, many times my writing group has told me "Leonard, you need to explicitly explain the thing instead of expecting us to figure it out."
Two more stories of mine are coming up in Analog: "Meat", the first Ravy Uvana story I ever wrote; and "Race to the Bottom", a flash piece that explains why everything is so terrible. Both coming out next year, I guess? I've deposited the checks!
Sun Nov 27 2022 18:05 ████:
Like today's algorithmic creativity tools, many NaNoGenMo projects take as their grist the results of other peoples' creativity and hard work: years, even centuries of work. My own In Dialogue and Amazon Prime are manipulations of public domain texts, and for Alphabetical Order and Brutus and Cassius, at the close of the scene I took the entire English literary canon as my input. Linked By Love mined thousands of books for their back cover copy—by far the most difficult part of the book to write. For 2022, I've created a NaNoGenMo work that reuses no one's text but my own.
████ is a blackout piece made from the text of my unpublished novel, Mine. I've redacted every word that shows up in one of my two published novels, Constellation Games and Situation Normal. You'll see lots of names, places, technical terms, odd digressions on Cleopatra and zucchini, punctuation, and (I assume) typoes. That's it.
This is an appropriate source text since Mine is a story about people preserved as the things around them are erased, and then juxtaposed without context. But really, I could tell you it was about anything and you'd have to believe me... for now.
Fri Dec 09 2022 14:22 November Film Roundup:
One of the biggest months for Film Roundup yet! I'm including a movie from early December, but that only makes it slightly larger!
- Ballet 422 (2013) - At first I thought this was just a random documentary about a random guy, but it seems Justin Peck is the hot young thing of ballet choreography. Nice twist at the end. I enjoyed the focus on the logistics of setting up a ballet performance, especially the costume design. Don't think I didn't notice how licensing concerns shaped what parts of the performance we see!
- Now You See Me (2013): A fun heist movie that's utterly undone by an insistence on having an unguessable twist ending. It's unguessable because it's stupid! Just go with one of the other possibilities; we don't know which one it is! It was fun to see the pre-condo 5 Pointz show up in a movie.
- Reign of Fire (2002): Unlike Now You See Me, this movie makes no sense from the get-go, and it's better for it. Still not a good movie, but at this point in history it's enjoyable to see an action movie that's not based on a preexisting media property. They tried to make Reign of Fire into a media property but failed, probably due to a wyvern's curse or something cool like that.
After watching this film we discovered that Sumana and I pronounce "wyvern" differently; she says it sort of like "given" and I say it more like "my turn." Although the so-called dictionary sides with me, I prefer Sumana's pronunciation, so that's the way we say the word in our household. Also because of this movie we say "wyvern" a lot more than we used to.
- Weird (2022): A fun musical biopic that becomes increasingly unhinged until it finally sides entirely with the "pic" over the "bio", but as cool as Weird Al is, do we need this movie and the much funnier Walk Hard? Need or not, we have them both.
- Six Degrees of Separation (1993): I really don't know what this movie is trying to say. Some movies scold you for watching them, but this movie scolds you for something the characters and the screenwriter are doing but you're not! The dialogue was great, which makes sense since this is an adaptation of a play.
- WarGames (1983): A pleasant surprise, a hacking movie where the hacking feels naturalistic and real. This movie had a real (and not entirely positive) effect on cybersecurity policy, from the time when policy was determined by making a movie and hoping Ronald Reagan watched it. The third-act mad scientist is not really necessary, but I have to admit his lair was pretty damn cool. The clueless parents are also fun.
- Wedding Banquet (1993): Another enjoyable New York immigrant rom-com. I really enjoyed the big party; it feels like they had an actual party once they finished filming, since they'd already rented the space. Or maybe they filmed the party, I don't know if that's plausible logistically, but it seems easier to actually have the party since you're not going to have to do a lot of retakes.
- Wyrm (2019): This movie chosen partly because of its name, as we were in the grips of wyvernmania. A fun indie film with a vaporwave aesthetic and an aggressively awkward Napoleon Dynamite feel. Just as I said "I hope we don't spend the whole movie on this premise," the thing I was afraid wouldn't happen til the end of the movie happened, and the movie started focusing on the aftermath. So, great timing.
- John Wick (2014): We watched half of this movie before deciding the cleverness/gruesome violence ratio was way out of whack and giving up. I'm kind of interested in the third movie where John apparently picks up a book at the 40th Street research branch of the NYPL, but just that scene.
OK, I've watched that scene on YouTube, so I'm good now. It looks like they actually filmed the action scene on location, as opposed to Ghostbusters where the Rose Reading Room is real but the stacks are in a set in LA. I have to deduct one point, though, as NYPL employees are seen not wearing their employee badges.
- Dirty Rotten Scoundrels (1988): Now here's a movie that doesn't care that you can guess the twist: it just keeps you guessing when the twist will be sprung, Hitchcock style. Fun performances from everyone, and an extra bonus twist at the end which we did not guess. That's the other secret to great drama, BTW: spring the twist the audience was guessing as soon as they guess it, then hit them with another.
- The Unbearable Weight of Massive Talent (2022): Adaptation (2002) is one of those pre-Film-Roundup films that I didn't review in NYCB, but I remember it fondly and have occasionally returned to it for comparisons. This movie practically demands a comparison, as it takes the most comedic parts of a fairly serious comedy and uses them as fuel for an infernocrusher romp. A lot of fun.
- The Train (1964): We watched Andor, the Star Wars series for people who think Star Wars is silly. (That's right, a Television Spotlight embedded in this movie review! What will I think of next?) It was really good, so good that we started looking into its cinematic inspirations, like this movie and the next one. The Train is a counterheist movie, with the thrill and pacing of a heist but with the theft being carried off in broad daylight and the heroes responsible for stopping it—without damaging the goods, which gives it an air of those fight scenes where Jackie Chan is juggling an expensive vase. I went in hoping something a bit more like The General, but maybe that's true of every film I see.
- Stalag 17 (1953): The most violent Billy Wilder film I've seen, but it's still got plenty of space for banter. Specifically the masculine jocularity found in military pocket guides, which is a perfect match for Wilder's style. There's also more space for slapstick than in a typical Wilder movie. The wartime setting allows for a happy ending while still letting Wilder get his ultimate wish of making a movie where almost every character fails to fulfill their dream. Highly recommended.
- Father of the Bride (1991): I remember writing an article for my high school newspaper decrying the state of Hollywood comedies, with this movie being Exhibit A. I said this unfairly, based on the trailer, without having actually seen the film, and having no real sense of the cinematic traditions I was supposedly hearkening back to. Now that I have seen the film, I'd like to offer a crucial correction: I was actually talking shit based on the trailer for the 1995 sequel to this movie. Everything else I remember is accurate.
This is a character-driven comedy which gets its humor by putting bland characters in moderately aggravating circumstances—the scourge of mediocre comedies then and now. It's especially noticeable because it stars Steve Friggin Martin and Diane Friggin Keaton, in the same year Martin does the hilarious L. A. Story. That's the clearest example of "one for you, one for me" I'm aware of. The best thing I can say about this is you don't often see a rom-com from the perspective of someone who's not a party to the romance.
I kind of feel bad slamming Father of the Bride because it's not terrible, just kind of a nonentity. It's not terribly funny, and it's sentimental in a way that requires a lot of humor to balance it out. Roxanne, for example, was great, because its love story was intertwined with an over-the-top farce. Who's going to uphold these standards, if not me? I've been fighting this rearguard action for almost thirty years and I'm way too invested to stop now!
Thu Dec 15 2022 18:31 My RSS!:
Since listening to KUSC in college I've been a fan of the old BBC radio program(me) My Word!, an ur-quiz show with a focus on chin-stroking erudition, shameless bluffing when erudition fails, and cornball shaggy dog stories. About ten years ago my fandom took a big hit when the BBC stopped pouring decades-old My Word! reruns down whatever transcontinental pipe eventually got it broadcast on American radio stations' streaming websites. But recently I discovered a large cache of episodes uploaded to the Internet Archive in 2020, including a bunch of episodes I'd never heard. Jackpot!
I really wanted to get this cache turned into an RSS feed so I can listen to episodes alongside my podcasts. Kevan's Fourble service can do this pretty easily, and in fact it already has, but what I'd really really like is an RSS feed that incorporates the information about broadcast dates and shaggy dog stories found in this particular item's carefully written description. That will dramatically improve the usability of the "podcast" and allow me to listen to the episodes in rough chronological order, rather than alphabetically according to the first vocabulary word lobbed at the panelists.
This is, in fact, a job for The Syndication Automat, a project I created in 2004, the semi-early days of RSS. Back then it was sometimes necessary to employ vigilante justice to make RSS feeds for websites that didn't have them. This was actually the original use case for Beautiful Soup!
Of course, hard times soon struck the Automat as every website got its own RSS feed, RSS feeds themselves were ditched in favor of Twitter and Facebook, and then Twitter and Facebook melted down, leaving us with nothing. (I'm extrapolating a little here.) 2009 was the last time any of the Automat's old feeds were updated. But podcasts still stand, the cockroaches of syndication, so it makes perfect sense to bring back the Automat one more time to host The Doubly-Unofficial, Partially Chronological "My Word!" Podcast Feed. Painstakingly hand-crafted by a script I painstakingly hand-crafted to deal with tons of edge cases like "two shows that use the same vocabulary word" and "shows where the filename doesn't precisely match the vocabulary word" and "shows where the general era of the show is known but not the exact broadcast date". I took care of all that stuff; all you have to do is listen.
If you just want to make a podcast out of the MP3 files in an Internet Archive item, and not do any other processing, you can use my very tidy, edge-case-free Python script, which depends on the modules
To generate a fast and cheap version of my DUPCMW!PF, I'd invoke the script with this command line:
from datetime import datetime
from feedgen.feed import FeedGenerator
from internetarchive import get_item
def __init__(self, ia_item, destination_url):
self.item = self.fetch_item(ia_item)
self.feed = FeedGenerator()
for file in self.item.get_files():
if file.format != 'VBR MP3':
def fetch_item(self, ia_item):
def add_entry(self, file):
entry = self.feed.add_entry(order='append')
mtime = utc(datetime.fromtimestamp(int(file.metadata['mtime'])))
entry.enclosure(file.url, str(file.size), "audio/mpeg")
if __name__ == '__main__':
$ python roughdraft.py bbcmyword https://www.crummy.com/automat/feeds/myword.xml
While producing this post I discovered that not only is there another, smaller, differently organized collection on the Internet Archive, but there's a significantly larger (but less well described) archive on RadioEchoes, which also has an even bigger archive of My Word!'s inevitable but lesser companion, My Music!.
(1) Fri Dec 16 2022 16:10 When There is Sugar:
Diabolical Plots has my latest story, "When There is Sugar". A touching fantasy story about baking and teaching with a decommissioned military robot.
The oven hissed as it turned rain to steam, moving less than a living thing would, but more than an oven ought to move.
“I suppose you should come in,” said Berl. It was a royal gift, and well-meaning, if a little patronizing.
This is my pandemic baking story, written in the depths of despair, a time now known only as October 2020. It came from Sumana's request to write a sweet story about a robot oven, as opposed to the grimdark-lite atmosphere of Situation Normal, which was about to be published. I think I did a good job, but Sumana still holds out hope for a gentler, more Bob Ross type of robot-oven story.
Fri Dec 23 2022 09:07 For Your Consideration:
If you're looking to catch up on stories published in 2022 so you can fill out your Nebula or Hugo nominating ballots, you've come to the right blog post. Here's are the stories I had published this year, conveniently sorted in descending order of "plausibly might win an award":
- "When There is Sugar" (Diabolical Plots) - Sweet science fantasy story about resilience in the aftermath of war.
- "Two Spacesuits" (Clarkesworld) - SF mystery where Internet rabbit holes go weird.
- "The Scene of the Crime" (Clarkesworld) - Space opera time travel story about labor relations.
- "Stress Response" (Analog November/December) - Space opera silliness where exactly the wrong person goes into space and it works out fine.
There's a chance a fifth story will be published this year, and I'll mention it in an update here, but it's going at the very bottom of this list, since I wrote it as a parody of bad SF. Makes me laugh every time, though.
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