Category: Arts and Letters

Still a Hoopy Frood.


“I suppose earlier generations had to sit through all this huffing and puffing with the invention of television, the phone, cinema, radio, the car, the bicycle, printing, the wheel and so on, but you would think we would learn the way these things work, which is this:

1) everything that’s already in the world when you’re born is just normal;

2) anything that gets invented between then and before you turn thirty is incredibly exciting and creative and with any luck you can make a career out of it;

3) anything that gets invented after you’re thirty is against the natural order of things and the beginning of the end of civilisation as we know it until it’s been around for about ten years when it gradually turns out to be alright really.“

In remembrance of Douglas Adams, ten years after his untimely passing: His 1999 essay, “How to Stop Worrying and Learn to Love the Internet” (although I think he too would have despised the term “webinar.”) If only he lived to see the actual, honest-to-goodness Hitchhiker’s Guides! (Pic via here, which also tells the story of Adams’ lost Doctor Who episodes.)

Mission Accomplished.


“For over two decades, bin Laden has been al Qaeda’s leader and symbol, and has continued to plot attacks against our country and our friends and allies. The death of bin Laden marks the most significant achievement to date in our nation’s effort to defeat al Qaeda. Yet his death does not mark the end of our effort. There’s no doubt that al Qaeda will continue to pursue attacks against us. We must — and we will — remain vigilant at home and abroad.“

So, yes, as you may have heard, we finally found Osama Bin Laden, fulfilling a key promise President Obama made during the 2008 campaign. While I would have preferred to see the perpetrator of 9/11 captured alive and brought to trial — cause that’s how we do justice here in the US of A — congrats to the president’s team, the analysts who did the hard work, and the men and women who executed the operation, on finally getting their man.

All that being said, the second half of the president’s statement above is troubling. The death of Bin Laden should mark the beginning of the end of the 9/11 decade. With the splinter finally removed, it is time to take a long hard look not just at our continuing war in Afghanistan — after all, Osama was eventually found in Pakistan, mainly through what the Bunk would call good po-lice work — but at all the questionable and/or extra-constitutional actions we have taken in the name of fighting the terr’ists since September 11th. (Newsflash: Torture had nothing to do with capturing OBL.) If the death of Bin Laden doesn’t move us to this reconsideration, what then ever will?

Unfortunately (and of course), that doesn’t seem to be what’s happening. Instead, Congress is laying the foundation for a wider war: “Contained in the National Defense Authorization Act for 2012 is a new authorization to use military force that would grant the executive branch the power to ‘address the continuing and evolving threat posed by these groups.’ In practice, that means the president could use military force against any suspected terrorist across the globe — indefinitely.“

Indefinite war? No thanks. There’s been an eerie touch of Emmanuel Goldstein in the way Bin Laden was used to justify all manner of extraconstitutional actions and civil liberties violations under Dubya — actions that have been ratified and continued under Obama. Now that the Bogeyman is dead, it’s time to stand down. It’s time to start acting like America again.

Deep Dark Truthful Mirror.


“As the Evil Queen, Olivia Wilde joins Alec Baldwin as the spirit of the magic mirror from ‘Snow White and the Seven Dwarfs.’ In the dark depths of her lair, the Queen has summoned the mirror’s spirit through wind and darkness to reveal the identity of a lovelier maid than she. The caption reads, ‘Where magic speaks, even when you’re not the fairest of them all.’“

Mental health break #2 via Megg at Quiddity: Disney unveils new Annie Leibowitz photos for the Disney Dream campaign, featuring stars as Disney characters, including Jeff Bridges as the Beast, Queen Latifah as Ursula, and the two folks above.

Banes of Smaug, Allies of Sauron.


“Mr. Freeman at least lived up to Mr. Jackson’s billing, offering a comic denial that the ‘Hobbit’ project was cursed. Despite the many setbacks the films had faced, Mr. Freeman told Agence France-Presse, “we’re ready to go – just as soon as 2015 comes around.” While PJ recovers from recent surgery, the cast of The Hobbit get ready to embark on a grand adventure. Cue the Glenn Yarborough…

In related news: In Soviet Russia, the Ring carries you…Salon‘s Laura Miller takes a gander at Yisroel Markov’s The Last Ringbearer, a Russian fan-fictiony novel purporting to tell the War of the Ring from Sauron’s side. “In Yeskov’s retelling, the wizard Gandalf is a war-monger intent on crushing the scientific and technological initiative of Mordor and its southern allies because science ‘destroys the harmony of the world and dries up the souls of men!’ He’s in cahoots with the elves, who aim to become ‘masters of the world,’ and turn Middle-earth into a ‘bad copy’ of their magical homeland across the sea.”

Strapped to the Rocket.


“There is no shortage of proposals for radically innovative space launch schemes that, if they worked, would get us across the valley to other hilltops considerably higher than the one we are standing on now–high enough to bring the cost and risk of space launch down to the point where fundamentally new things could begin happening in outer space. But we are not making any serious effort as a society to cross those valleys. It is not clear why.“

In Slate, sci-fi author and technophile Neal Stephenson discourses on what rockets tell us about innovation and the course of technology over time. “The phenomena of path dependence and lock-in can be illustrated with many examples, but one of the most vivid is the gear we use to launch things into space.“

The Moviegoer.


“In the 1930s, while painters are celebrating skyscrapers and cars and the angular delights of modernity, Hopper’s reaction to the modern is to stake out a timeless urban streetscape or rural view. He retreats to the countryside and paints small towns and American scenes…He likes women in impossibly tight dresses; men rarely escape the costumes of their profession; and public places promise no interaction (for this reason he repeatedly painted the lonely movie theater in his neighborhood).“

In the Observer, college friend Maika Pollack surveys the Edward Hopper retrospective at the Whitney. “He painted the quality of light with adjectival precision-cool electric light, thin morning light, the lonely light from a cinema screen. (If Hopper loved movies, the movies loved Hopper back: In his House by the Railroad [1925], we see the inspiration for Hitchcock’s Bates Motel in Psycho).”

Ten in the Rear-View.


“Millions of gallons of oil spewed into the Gulf of Mexico, several massive earthquakes wreaked havoc worldwide, Vancouver hosted a successful Winter Olympics, and so much more. Each photo tells its own tale, weaving together into the larger story of 2010.” Boston’s consistently impressive Big Picture gives us the Year That Was in photographs.

Danse Macabre.


Well, I was rooting for Darren Aronofosky’s Black Swan. I generally think well of Aronofsky even if The Wrestler notwithstanding, he has a penchant for operatic self-indulgence. (In the Best of the Decade list I put together a year ago, The Fountain, The Wrestler, and Requiem for a Dream clocked in at #77, #35, and #30 respectively.)

And, at least in general terms, the subject matter of Black Swan hits close to home, given that my sis is a professional ballerina who’s well-versed in the Odette/Odile role(s). (Although, as far as I tell, she hasn’t gone off-the-wall, certifiably bugnuts crazy…yet. Gill’s thoughts on Black Swan are here.) All that being said, Aronofsky’s attempted Cronenberg variation on Tchaikovsky here doesn’t really work. The movie is arousing a good bit of passion and controversy at the moment — some critics love it, some hate it, there may even be an age divide — but, for the most part I just found it overwrought and silly.

Black Swan begins auspiciously with the prologue of the ballet from which it’s riffing: Young dancer Nina Sayers (Natalie Portman) dreams she’s on stage performing the opening “transformation sequence” of Swan Lake, when Odette first encounters the villainous sorcerer Von Rothbart. (Here and throughout, Portman doesn’t really have the ballet chops to pull off the dancing, but, to my layperson’s eye, the workarounds seemed decently convincing. And she’s actually quite good otherwise.) But outside of the Dreaming, Nina is still just a lower-level dancer (presumably a soloist) in her Lincoln Center-based company, living with her (s)mother (Barbara Hershey) in a too-small New York apartment.

But opportunity knocks for Nina when the company director (Vincent Cassel, seemingly playing himself) tires of his veteran principal (Winona Ryder) and decides to recast Swan Lake from the ground up. (And for some reason, he only seems to be picking one cast.) Nina seems like a perfect fit to dance the willowy, innocent Odette, the White Swan. But can she handle the Black Swan half of the equation: the alluring temptress Odile? In fact, there’s a carefree, sensuous new corps member — with swan wing tattoos, no less (Mila Kunis) — that seems born to play that role. So if Nina wants to live her dream and dance the lead in this new Swan Lake, she has to cut loose from her perfectionist moorings and embrace her dark side. Which, unfortunately for her, brings on the Madness…the Madness, splitting in half…

Thus ensues a series of increasingly nightmarish vignettes, in which Nina — already fragile and anorexic on her best days — succumbs to teh crazy: Mirrors start acting funny, a stress rash grows worse and worse, and soon she’s ripping long strips of flesh off her fingers at the cuticle. (I wasn’t kidding when I said this was a Cronenberg variation, although the “all-in-a-day’s-work” body horrors of The Wrestler also come to mind.) Unfortunately, while Black Swan pretends to be a psychological horror movie, most of the scares here are really just of the jump-scare or gross-out variety. And, other then an ecstasy-fueled nightclub scene that recalls the druggy cinematic syntax of Requiem (and that eventually devolves into a ludicrous “sapphic succubus” tryst that seems like something out of Showgirls), Black Swan spends too much of its run dancing dangerously on the precipice of boring.

The thing is: If we know the lead character is going bonkers, and that’s made pretty clear from jump street, these endless nightmare sequences have very little dramatic weight to them. Something bad happened, somebody got killed? Eh, she’s probably just imagining it. What might’ve made Black Swan more interesting is to emphasize not how she’s going mad, but why. But, in that department, Aronofsky mostly just burdens Nina with trite Freudian baggage — an overbearing mother and a sexy crush on “father” (a.k.a. Cassel) — that was hoary and cliched even in Tchiakovsky’s day.

And so it’s hard to sympathize with Nina because neither her character nor her plight is at all convincing. So she has to somehow play both an innocent AND a seductress? ZOMG how will she ever manage? Well, I dunno, how about…acting? Sure, there are cases where Method types will lose themselves too much in a part. (Heath Ledger’s travails with the Joker come to mind.) But, perhaps due to familiarity with ballet folk, playing the white and black swans just doesn’t seem like an insanity-inducing event to me. (Although, now that I think about it, I guess a psychotic break after portraying evil twins might explain the late career path of the Shat.)

In the Financial Times, dance critic Apollinaire Scherr makes a key and telling point: In emphasizing the psychological rigors of the Black Swan role, Aronofsky sorta missed the point of the ballet. “Sure, there is a good maiden and a sly vixen in Swan Lake, but, like the ballet’s dopey prince, Aronofsky gets them mixed up. The virtuous woman has a self to lose; the schemer merely fakes it. Odile the Black Swan is easy to understand…what you see is what you get…Odette – part swan, whole queen, once simply a woman – is complex: wild but also majestic, animal yet gentle.”

In other words, the White Swan is the character with actual depth, while the Black Swan is basically all sizzle and flash, the prince falling for a pretty face. In that, the movie Black Swan is much like its namesake. I suppose it works decently well as a cheesy midnight movie for goth girls and the like. But in terms of anything approaching tragic or psychological depth, Black Swan misses the mark wildly. Its pleasures and pains barely scratch the surface.