Life on the Wicked Stage: Act 3
Musings on life, the theatre, technology, culture and the occasional emu sighting
Just posting this here because in the midst of all of the shit going down around us, it surfaced and made me laugh. And I needed that for just a minute.
Mel Brooks announced a sequel to his wacky sci-fi comedy, Spaceballs. It’s been awhile and he takes full advantage of that in this brilliant trailer.
You can find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.
This paradox should be a must watch.
I’d mark your calendar for this one. CNN will be airing George Clooney’s production of the play Good Night, and Good Luck, live on June 7th from the Winter Garden Theatre on Broadway. It will be the first time that a live play performance has been televised.
The play is adaptation of the 2005 movie of the same name that Clooney co-wrote, directed, and starred in, based on CBS journalist’s Edward R. Murrow’s work to expose Joe McCarthy during the Red Scare in the 1950s. In the movie Clooney played Fred Friendly, Murrow’s producer. On the stage he plays Murrow.
The Broadway production has met with critical acclaim and just recently announced that it had recouped its initial investment during its run that began in March of 2025.
I’m a big fan of the movie (I wrote a little about it here) and imagine I will also be of the stage version. I’m sure the story’s central message of standing up to bullies and demagogues translates just as well in a live version as it does on film.
I’m looking very much forward to watching this and would encourage you to as well. I know there are some who see Clooney as one of the villains in our recent political turmoil. And some see CNN has a willing accomplice to the madness we face. Even with what may seem like all of that irony, I would urge you to set that aside and give Good Night, and Good Luck a watch. As I said then
This isn’t some moment of nostalgia for a time gone by. It is a recognition that where we are now is a place we’ve been before. This time around those that control the media and messaging have, for the moment, much more control than they did in Murrow’s day. Make no mistake, they had some control then, but now it’s more pervasive and the Murrow’s, Friendly’s and Paley’s are fewer in number.
Setting aside the historical significance of this broadcast of a live play, and the paradox between the message and the messengers, I can’t think of a better reason to watch given where we are and will continue to be for some time.
You can find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.
Apple Store takes center stage in this hostage drama.
I’m guessing iHostage is a flick you’ll never see on Apple TV+ even though it features the Amsterdam Apple Store as a prominent character in the story. iHostage, directed by Bobby Boerman is currently streaming on Netflix and is based on an actual hostage situation that took place at the Apple Store in Leidseplein in 2022.
As far as hostage films go it isn’t bad nor is it great. These things typically only end one way, and of course if you have any familiarity (I did not) with the actual events you already know how things turn out in this case. But as to the entertainment value there’s good fun to be had as the director and his cameras look for every conceivable angle to shoot within and without the Apple Store. AirPods play an important role early on. Also interesting is watching some of the hostages use an Apple Watch to check whether or not another was having a heart attack. (For the record, an Apple Watch can’t detect underlying causes of a heart attack, but it can detect irregular rhythms.)
The acting, visuals, and direction are generally good, keeping the tension going as we cut back and forth between the hostage taker and his primary hostage, and those on the police side trying to bring about an end to the event. But again, these stories have a formula about them that to some extent just requires a plug-and-play approach with all the necessary elements of filmmaking. I’d say everyone pulls their job off well with the sort of cleanliness you’d expect in an Apple Store. In the end it’s all a bit too clean.
You can read about the true story behind the movie here and watch the trailer below. I’d say it’s a fun watch if this kind of story is your kind of thing, or you just want to tour an Apple Store in Amsterdam.
You can find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.
Do we need Superman or just a Speakeasy?
I’m not sure about how you’re viewing all the things swirling around us these days and maybe it’s just the prism I’m seeing the world through, but most of the writing that attracts me all seems to relate. The common denominator is human arrogance, (perhaps it’s arrogant for me to say that). On the other hand is the push back against it, whether it be in global or national affairs, technology, or simply finding a new way to connect in what seems like old ways. Anyway, that’s a thread running through my mind as I share this week’s Sunday Morning Reading.
Freedom of Speech and Disinformation are two sides of the same worn coin that I’m afraid is on the verge of losing any of the value it once represented. Ian Dunt says that Progressives Are Rediscovering Freedom of Speech after the populists essentially used it as a cleaver to butcher it.
On the other side of that coin, Mathew Ingram says that Disinformation Isn’t A Supply Problem It’s a Demand Problem, asking how do you correct a belief?
In a world were some want to remake it in an image that excludes those it deems undesirable, it turns out some Far-Right Influencers Are Hosting a $10K—Person Matchmaking Weekend To Repopulate The Earth. Manisha Krishnan tells the story in Wired.
Speaking of humanity, Thom Hartmann thinks, Even Mice Have More Humanity Than Trump, Musk and the GOP. He’s right.
Timothy Snyder has one of the best pieces I’ve seen on SignalGate called SignalGate: Violating National Security. It doesn’t get more simple than that title, and yet, we’re in a world where we let it get stupid, silly, and so much more complicated than it needed to be.
Greenlanders seem to be pushing back with a bit more tenacity than most Americans want to muster at the moment. Sarah Ditum offers A Tip For JD Vance: Greenland Doesn’t Care About Your Frail Human Ego.
On the technology front, Artificial Intelligence keeps dominating most discussions. Steven Levy takes a look inside Anthropic and its version with Anthropic’s Claude Is Good At Poetry-And Bullshitting. Here’s the thing that always makes me laugh about AI fluffing and fulminating. We keep playing circular games with these things, creating them, we’re told, to be better than our falliable selves at reasoning and to be more efficient to free our minds from drudgery. We are good at the creating part yet seemingly not smart enough to recognize the fallibility in all of our arrogant bullshitting. We’re obviously not smart enough to recognize that, so what makes anyone think anything artificial we create will do any better?
Apple continues stewing in juices of its own making as it heads into its next cycle of OS releases, leaving many aching for the days of Snow Leopard, a release which supposedly was aimed at bug fixes more than new features. Matt Birchler reminds us that this was one of those bullshit marketing myths too many fell for in The Snow Leopard We’ve Built Up In Our Heads and links to a terrific rundown of why that was indeed a myth from Jeff Johnson in The Myth And Reality of Mac OS X Snow Leopard.
As for the pushing back part of today’s introduction, take a look back, or listen back in cultural history at this piece in OpenCulture. Turns out after World War II, as the KKK was once again gaining some momentum, Superman stepped in to help slow things down. Check out Superman Vs. The KKK: Hear The 1946 Superman Radio Show That Weakened The Klan.
Watering holes are great places for connecting with other humans whether it be for refreshment, survival, or merely just a human connection. David Todd McCarty publishing on LinkedIn takes a look at The Return of The Speakeasy, reminding us that nothing was or is easy.
Image from Michael Constantine on Unsplash
If you’re interested in just what the heck Sunday Morning Reading is all about you can read more about the origins of Sunday Morning Reading here. You can also find more of my writings on Medium at this link, including in the publications Ellemeno and Rome.
A tough watch. A must see.
Adolescence. See it.
I’d like that to be all that I write about this sensational limited streaming series on Netflix, but there’s more I want to say.
You’ve probably heard of Adolescence. It’s become a well deserved hot topic of conversation because it’s an excellently done piece of storytelling that cuts through what seems like an impenetrable zeitgeist like a hot knife through melted butter. I’m glad to see that the hype tour surrounding its recent release ramp up after the series took off because something this good needs to be ballyhooed, bravoed, and brandished with flying banners.
For me, the bottom line, beyond just saying “see it” is that the producers and artists involved captured something we all know in our gut and make us face it. Captured it in a challenging way that they didn’t need to, but by accepting that challenge opened up those gut instincts with a rawness that touches nerves we may have all let somehow deaden. The painful intimacy of one family’s story opens up a chasm full of realizations that speak far beyond the specific issues so well portrayed.
In brief, a young boy is accused of stabbing a young girl and through the investigation we delve into a world of young boys and men influenced by Incel culture and bullying. A world not understood in this instance by the young boy’s family, or any one of the parents’ generation that we meet in the story. Watching the investigating detective’s son educate his father is a remarkable scene.
We follow the story through the boy’s arrest, booking and indictment, examination with a therapist, and the devastating conclusion as the family deals with the aftermath. Every moment is powerful. His arrest in the first episode is only the beginning of story that digs into every emotion there is when confronted with horrible moments that one would hope no family would ever have to endure. I can’t imagine any parent of young children, especially boys, watching this without wanting to take the doors off of their child’s bedroom doors and disconnect them from the Internet. It is tough to watch and it’s impossible to look away.
Toxic masculinity, patriarchy, bullying, isolation, fear, self-loathing, and the perils of social media become bigger monsters by the moment than any knife wielding attacker.
Director Philip Barantini, known for filming his stories in one take, uses that device to exquisite effect. He didn’t need to, but he and his team did and the payoff is exquisite. Each episode unfolds like a one-act play, filmed in one amazing traveling take. In later interviews it’s been revealed that they only did two full takes after a weekend’s rehearsal for each of the four episodes. The one take keeps you riveted as it ratchets up the tension, never letting you catch a visual breather from the story. How they filmed the second episode which takes place in and around a school is almost beyond imagining.
The cast is superb, especially 13-year old Owen Cooper as the young boy. In his acting debut he delivers a performance that is so outstanding that it takes your breath away. He’s not only a natural, his performance borders on the supernatural. Stephen Graham, who also co-authored the story with Jack Thorne, plays the boy’s father and strikes true in every millisecond he is on the screen. Well known for playing in-your-face tough guys, Graham’s journey through this story is like watching a rock face that has been the feature of a cliff, let go and crash into a million pieces. The rest of the cast is equally up to the task of matching these amazing performances.
The back story is that Graham, hearing about crimes featuring young boys stabbing young girls, felt that questions needed to be asked, the obvious one being “why is this happening?’ As is the case with all good drama and story telling Adolescence raises as many questions as it answers others. Certainly I imagine parents who see this, and they all should, will be asking the same questions the mother and father in the series do themselves.
On a larger scale, as we daily face an adult and supposedly mature world that seems stuck in adolescent, if not prepubescent misbehavior, celebrating toxic masculinity, bullying, and the perils of social media, this amazingly told story might at least give us a glimpse into how we looked away too often, when we knew we shouldn’t, ignoring so much at the cost of even more.
You can’t look away from this.
You can find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.
A fresh look at a moment that changed the world.
The events of the 1972 Munich Olympics hostage crisis changed the world in so many ways, ushering in the age of terrorism foremost among them. But behind the scenes of the terror and the politics were the sports television broadcasters who found themselves in the middle of an unexpected crisis and they were totally unprepared for. The movie September 5 tells that side of the story and tells it well.
Two things stand out beyond the excellent acting and well crafted script that make the film worth a watch. Director Tim Fehlbaum does a great job of capturing the chaos and the tension in the ABC control room and its environs as his cast hustles and bustles from moment to moment and emotion to emotion. Fehlbaum also skillfully weaves historical ABC footage of the coverage into the action he’s filming in his current day mise-en-scene. That choice alone was an excellent one and sets the filmmaking apart.
The film is also a terrific nostalgic view on what seems like the now ancient technology that television broadcasts used in that era. Watching how logos and titles are created to superimpose over images is quite a treat.
Certainly audiences of my generation will be familiar with how big a moment this was, but I’m sure there are younger generations experiencing the story for the first time. They couldn’t have a better primer than this film.
The end of the tragedy is well known, but the telling of it in this newsroom procedural gives it an entirely new life as we see producers and directors making choices in the moment, realizing how their actions are breaking new ground, potentially fraught with peril, and how their audiences will witness the event they are covering and what it means going forward.
September 5 is currently streaming on Paramount+ and available via video on demand from most services.
You can watch the trailer below.
You can find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.
Brutal filmmaking and story telling in a monumental achievement.
I’m finding myself attracted to very complex and complicated films and streaming series these days, even if they are flawed. That is certainly opposite of the minimalist and often stark aesthetic of Brutalist architecture where everything must have its functional point. Make no mistake, The Brutalist is functionally a complex and complicated film that I’m sure some will find a brutal time watching. And that’s not just because the run time is three hours and thirty-five minutes with a fifteen minute intermission.
I’m sure that length will scare some off. It certainly made me think long and hard about waiting to see it at home, instead of seeing it in the theatre. As an older guy with a bladder that prefers having a pause button nearby I decided to take the risk. I’m glad I did.
During that intermission the conversation in the men’s lavatory was all about how thankful everyone was for the pause. Talk about a sharing a communal experience the way art is supposed to do. Let’s just say I’m glad there was an intermission and I can think of a number of recent longer films that would have been well served to have added one.
But the intermission speaks not just to relief, but ironically it speaks back to a grander, perhaps more audacious age of cinema, when movies had things like overtures and intermissions, and were shown in ornately decorated movie palaces, instead of gray boxes stuffed next to other gray boxes. It certainly adds weight and import to the epic scale of this ambitious movie about ambitious aims.
At its core The Brutalist is an immigrant story. A Jewish immigrant story in America after the horrors of World War II. It feels all the more resonant in this time and place. Watching the protagonist survive, struggle, and try to succeed might, in and of itself, feel like a typical American Dream story, but it plumbs the depth of American nightmare moments as well. We’ve seen these epic immigrant stories before.
We’ve also seen the epic stories of artists struggling against all odds, shedding and hurting those who love them as they pursue their passion, while suppressing and harming parts of themselves to serve at the pleasure of rich philistines who use and abuse them as extensions of their own outsized egos.
This epic story works on all of those levels, but it works because of the art of the filmmaking, more specifically the men behind the cameras. Corbet may be telling the tale of a Brutalist architect pushing for his dream, but there is nothing minimalistic or spare about how he and his cinematographer and composer uses cameras and sound to tell it.
The cinematographer Lol Crawley and his camera is everywhere and anywhere, often in odd places from odder angles, especially in the first half, using visuals that disorient as much as they reveal. The sound design and the music by Daniel Blumberg in collaboration with the director is equally surprising, and at times wonderfully disconcerting and deliciously uncomfortable.
Corbet sets us up for this by shattering expectations with the overture and the credits. Instead of credits scrolling vertically, or fading in, or overlayed on the action, they scroll horizontally from right to left. It feels wrong to western eyes and is matched by the camera work in the opening section. Literally bouncing in and out of point of view, light and dark, the cameras follow the characters stumbling from the bowels to the deck of their ship, finally landing upright on Ellis Island. We are thrown into the chaos of the scramble with as much desperate anticipation and confusion as the characters. If you’re not uncomfortably ready for something different after these first few minutes then you are not ready to surrender to what the rest of this film has to offer.
The story is divided into two parts by that intermission and unfolds with many such surprises. Part I is cinematically more intriguing than Part 2, which lags at times. There the camera and editing slow down to capture longer, quieter, yet equally intense moments and that makes sense. That’s never more apparent than the scene when a husband comforts his wife’s physical pain, knowing his solution is as wrong as it will be relieving and welcome. It’s an injection of pure agony, painfully, yet beautifully acted, filmed, and scored.
But that’s a setup for when the pace picks back up to its Part 1 tempos, propelling us to the conclusion. It’s almost too much of a shock, and that’s the intent. We’re finally delivered to an epilogue, which to me feels unnecessary and almost tacked on even as it completes the epic arc of the story. But it does allow you to sober up a bit before leaving the theatre.
Overall the cast is generally quite good with Brody standing out as the architect László Tóth. You can almost breathe his pain its so present. Felicity Jones almost matches him once she enters the story in Part 2, only failing when the script fails her. But when she’s the focus, she captivates. Guy Pearce, who I generally don’t like, does the best work I’ve seen from him, and often threatens to take the story away as the central antagonist.
All in all the story isn’t unfamiliar, but it’s told with a rawness and complexity that propels us and it forward into something larger than itself, even larger than the ambitions of its characters and those of it’s storyteller. It won’t be a film for everybody, but it is more monumental than anything I’ve seen in a while.
You can find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.
Good reading and good writing is just a heartbeat away in this week’s Sunday Morning Reading
Hearts can be ugly things, yet they draw our poets, songwriters, and story tellers like moths to a flame. NatashaMH flutters around the heat in The Beautiful Mind Of An Ugly Heart.
Speaking of ugly hearts, quite a few of them are on appearing on shirt sleeves alongside all the chest thumping and Nazi salutes going on here in the U.S (and elsewhere). We’re only a week into the victory laps and lapses of humility, yet already writers are wearing out keyboards with words of resistance. Ian Dunt has penned How To Resist The Tech Overlords. In this new and hot category of writing, let’s hope none of this seems like fiction down the road.
Another way to resist the tech overlords is to just say no when they overreach. Microsoft overstepped by raising everyone’s Office 365 subscription prices on the inclusion, wanted or not, of its Microsoft 366 Copilot AI features. There’s a way to avoid the price hike written up by Mark Hachman on PC World. You might want to check that out.
For a good read on the entire Microsoft situation, Ed Bott chronicles the story of Microsoft’s latest AI unintelligent move in The Microsoft 365 Copilot Launch Was A Total Disaster.
Meanwhile the Chinese might have found a way to fight the AI money grab and spend long before we reach the cash out stage. Zeyi Yang lays it out in How Chinese AI Startup DeepSeek Made A Model That Rivals OpenAI. The sexy stories about TikTok might be taking a back seat to this one.
Alex Himelfarb tells us The Politics of “Common Sense” Is Making Us Meaner. He’s right.
Joan Westenberg takes it all on in Clash: Power, Greed, And The Fight For a Fair Future.
If you’re concerned about what the tech side of all of these moments of madness we’re living through might mean, remember it’s not the tech and it is. Check out Nina Metz’s review of the Katherine Hepburn and Spencer Tracy flick Desk Set. As Ms. Metz puts it, This Movie With Katherine Hepburn And Spencer Tracy Anticipated Anxieties About The Internet And AI. Oh, also check out the flick. You won’t be sorry.
There really is nothing new under the sun, including cribbing and cropping from the work of others. Massimo Pugliucci takes a look at Ayn Rand’s Objectivist theories and her claims to be influenced by Aristotle. As he puts it well, “one can hardly imagine what possible points of contact the two might have.” Take a look at On Ayn Rand and Aristotle.
These are indeed challenging times and often they feel quite dark. Alexander Verbeek gives us the always needed reminder that When Darkness Returns, Art Exists.
And on that note, and since we lost one of the greatest musical artists of my generation, Garth Hudson, this week, Check out Amanda Petrusich’s Remembering Garth Hudson, The Man Who Transformed The Band. Remember many of Hudson’s and The Band’s creations came in another turbulent era in our history. A beautiful musician and beautiful mind.
If you’re interested in just what the heck Sunday Morning Reading is all about you can read more about the origins of Sunday Morning Reading here. You can also find more of my writings on Medium at this link, including in the publications Ellemeno and Rome. You can also find me on social networks under my own name.
Complex pieces, whether successful or not, dominate my end of year list for 2024
2024 was a complex year on many fronts in my life. We moved. Politics and culture seemed to daily turn the world upside down and inside out. And for some reason the movies, TV, and books I enjoyed the most were, while not necessarily the top of class, very complex.
I certainly didn’t see or consume everything during the year. Heading into the holiday movie release schedule I found myself thinking it had been a better year for streaming TV than it had for movies. I think that still holds. Some titles may have been released prior to 2024, but they didn’t cross my radar until this year soon to pass, so they get included.
For the record I don’t believe in “Best of.” As I continue to say, there’s too much good being created by too many good (and some not so good) folks out there, that I pick what attracts and holds my attention.
This year that leaned towards complex pieces that may or may not have been utterly successful. There’s also just some well done entertainment. There is still lots of mediocrity out there, but here’s the complex cream that rose to the top of my list. If I wrote something about the titles, there will be a link.
Movies
Streaming TV
Other Video
I’m not sure where to put YouTube videos on this list, but this presentation of Ubu and The Truth Commission by the Handspring Puppet Company was high on my list of favorite viewing this year.
Books
Apps
Either I’m slowing down or software App development is. There’s only one new App that landed on my devices that I would recommend:
Have a Happy New Year!
You can find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.
What do ugly Christmas sweaters, physics, the post office and pernicketies have in common? Check out this week’s Sunday Morning Reading.
Here we are with the last edition Sunday Morning Reading for 2024. As usual there’s links to subjects and writing I’ve found particularly interesting. I hope you do as well. Enjoy this week’s edition and see you next year.
Christmas has come and gone, and it’s time for the decorations to come down and the ugly Christmas sweaters to be put away. Jennifer Ouellette takes a look at The Physics of Ugly Christmas Sweaters. You may want to consider how you fold yours up for seasonal storage after reading this.
I’ve laid off politics during most of this year’s holiday season, but I’ve been peripherally aware that apparently a Civil War has broken out between the tech bros and the MAGAts over immigration. Not to worry, Heather Cox Richardson has a running account of the blows and counter blows in her Letters From An American for December 27.
One of the numerous things many are worried we might actually lose during the next administration is the troubled U.S. Postal Service. Steve Herman gives a nice rundown of some history, context, and what we might lose in Going Postal. As the son of a former post master, I appreciate Steve’s efforts here.
Thinking about how big projects get started, Joan Westenberg takes on The Ego-Legacy Complex: On Ancient Monuments and Modern Malaise.
ProPublica writers Asia Fields, Nicole Santa Cruz, Ruth Talbot, and Maya Miller conducted a series of interviews with homeless individuals. A feature of the article is the re-printing of the notecards some of the interviewees wrote describing their losses. Check out I Have Lost Everything to see what they have lost.
Most folks have a love/hate relationship with services they subscribe to and of course that includes streaming video services like Netflix. If you subscribe to Netflix and you’ve ever wondered why Netflix gets on your nerves, check out Will Tavlin’s Casual Viewing. You’ll never stream it the same way again.
You have to love the title, but you’ll also love the article. Check out Pet Peeves and Other Pernicketies from NatashaMH.
Have a Happy New Year!
If you’re interested in just what the heck Sunday Morning Reading is all about you can read more about the origins of Sunday Morning Reading here. You can also find more of my writings on Medium at this link, including in the publications Ellemeno and Rome. You can also find me on social networks under my own name.
Life on the Wicked Stage: Act 3 