Richard Brody’s New Yorker review is titled: “Quentin Tarantino’s Obscenely Regressive Vision of the Sixties in “Once Upon a Time . . . in Hollywood”“.
I didn’t love the film, and with each work of his I see, the more I like the others (and him?) less. My main takeaway was to be reminded of an enormous and unprecedented historical shift. In the 1960s, in part because of the birth control pill, the sexual opportunities of high status heterosexual men, or even medium status men, increased enormously, in terms of both quantity and quality. And indeed the men in this movie take advantage of that, to various extremes (wife murder, the Manson cult) and it is not entirely clear how much Tarantino disapproves.
Whatever your normative view of this change, keep it in mind the next time you encounter the “Puritan excesses” of today’s PC movement. Very rapid historical shifts in norms do in fact bring various forms of reaction and sometimes overreaction, and pushing back against the overreaction is not always the wisest thing to do.
If you want to see southern California on the big screen, you might enjoy Echo in the Canyon more, while its bookend cinematic partner David Crosby: Remember My Name will fill in the Joni Mitchell blank and also show you how deeply unpopular and unlikeable people talk and think about themselves.
1. Musician. I don’t love Steve Tyler/Aerosmith, so what am I left with?
2. Author: I find John Irving unreadable, so does it come down to Russell Banks? Who else is there? Salinger lived in New Hampshire for a long time, so I’ll pick him, though it is also pretty far from my favorite. Here is my Catcher in the Rye review.
3. Sculptor: August Saint-Gaudens.
“Law Supported by Power and Love”
5. Poet: Robert Frost, who seems to be clear winner for the whole state. There is a scholastic version of Frost which is quite dull, don’t be put off if that is all you know of him.
6. Movie director: Brian DePalma, Dressed to Kill and Mission to Mars being my favorites.
7. Painter: Maxfield Parrish. I feel I’m being forced into many of these choices — I simply can’t think of anyone else.
8. Secretary of the Treasury: Salmon P. Chase. Chase is one of the few people to have had a major position in the executive branch, served in Congress, and sat on the Supreme Court.
The bottom line: For all of my grumbling, for such a small state it does pretty well.
I will be doing a Conversations with Tyler with her, no associated public event. Here is part of her Wikipedia page:
Robbins is a noted expert in the field of nineteenth-century African American literature and recently co-edited with Henry Louis Gates, Jr. an anthology of African American women’s writing. Robbins’ work focuses primarily on nineteenth and early twentieth century black print culture; she is affiliated with the Black Press Research Collective and serves as an advisor to the Black Periodical Literature Project at the W.E.B. Du Bois Institute at Harvard University.
…Previously, Robbins edited several other books with Henry Louis Gates, Jr., including The Annotated Uncle Tom’s Cabin (2006) and In Search of Hannah Crafts: Essays on The Bondwoman’s Narrative (2003). She also co-edited The Works of William Wells Brown (2006) with Paula Garrett and an edition of Frances E.W. Harper’s 1892 novel Iola Leroy.
In addition to now being Dean at Sonoma State University, she also has written on film music, the history of post offices, the gold rush, higher education, African-American sonnets, and numerous other topics. So what should I ask her?
Carp all you want, I thought it was pretty damn good. The innovations: monsters have economic value, there are property rights in monsters (for a while), communication really matters, the environmentalists are the bad guys, and nuclear power saves the world. The stagnation: Asian people, and only Asian people, have TFP about monsters.
You can’t judge these movies by normal standards, like those silly critics do, instead you have to ask:
1. How good are the monsters and the monster fight scenes?
2. Does it give the monsters a decent backstory and mythological lore?
3. Does it pay suitable homage to the original movies?
4. Does it have the right number of obscure monsters, arbitrarily added to the canon, as if we know all along who and what they are supposed to be?
5. Do you learn something about how the film-producing country views its own science and bureaucracy?
6. Perhaps YIMBY will come to Boston after all.
Mothra steals the show, A- I say, don’t @ me on this one. The Japanese movie Shin Godzilla, which appeared about two years ago, is pretty good too, especially on #5.
Very much a fun one, here is the audio and transcript, here is part of the opening summary:
Do we overrate the importance of doctors? What’s the importance of IQ versus EQ in the practice of medicine? What are the prospect for venture capital in biotech? How should medical training be changed? Why does he think the conventional wisdom about a problem tends to be wrong? Would immortality be boring? What would happen if we let parents genetically engineer their kids?
Tyler questions Emanuel on these topics and more, including the smartest thing his parents did while raising him, whether we have right to medical self-defense, healthcare in low- versus high-trust institutions, and much more.
Here is one excerpt:
COWEN: How can we improve medical education?
EMANUEL: Cut it down. Make it shorter.
COWEN: Cut it down? Why does that make it better? Or does it just make it cheaper?
EMANUEL: No, I think it will make it better. So, we have a lot of memorization, a lot of . . . So, let’s go back to the start. The four years of medical school: two years of preclinical in the classroom learning about biochemistry, genetics, anatomy, microbiology; and the two years of clinical time in the hospital, on the wards.
That dates from 1910. We haven’t really updated it much, except in this one way: we’ve cut down the preclinical time because — less of it — and it changes so fast, by the time you learn it in medical school, get out as a doctor, it’s out of date, A; and B, it’s more or less irrelevant to managing most patients…
And then, by the way, in med school, spending your time in a hospital is not the future. The future of American medicine is out of the hospital. So we need more rotations, more experiences for students out of the hospital.
No med school has made that big shift, and those are the shifts that are going to have to happen over the next 15 or so years.
COWEN: Is there a right to medical self-defense that should override FDA bans on drugs and medical devices? I want to try something that’s not approved —
EMANUEL: No. I don’t like that.
COWEN: I’m saying it’s my body. But why don’t you like it?
EMANUEL: No, no, no, no, no, no, no, no, no, Tyler.
COWEN: Now, you’ve written a much-misunderstood article about how hard you would try yourself to live past the age of 75. Would not the suspense of world and national history always keep you wanting a bit more extra time?
So, say I’m 75. I’ve decided I agree with you, but the NBA Finals aren’t over yet. I want to see game seven. I want the Mueller report to come out. Isn’t there always something?
And then, it’s kind of intransitivity of indifference. Every day there’s something, and you just keep on hanging on, even if one accepts your arguments in the abstract. Can you talk me out of that?
EMANUEL: No, no, Tyler, I think you’re exactly right. That’s why people do hang on. It’s because . . . you know, so I talked to my father, who — he says, “Zeke, you’re absolutely right. I’ve become slower, physically slower, mentally slower. My life” . . . what ends up happening is your life cones down, and you begin to overvalue certain small things. Like the NBA Finals. Like what’s in the Mueller report.
We all know, from any cosmic standpoint — even not a cosmic standpoint, just a 2,000-foot standpoint — most of those things are not irrelevant. It’s really cool to know.
You often ask — and this happens to me all the time. I teach undergraduates. Pretty smart undergraduates. Very smart undergraduates. MBA students, nurses, doctors, right? They have no understanding of history. So, whoever finishes in the NBA Finals, in five years, people have forgotten.
Recommended, interesting throughout.
Here is the audio and transcript, this was one of my favorite Conversations. Here is the CWTeam summary:
Knausgård’s literary freedom paves the way for this conversation with Tyler, which starts with a discussion of mimesis and ends with an explanation of why we live in the world of Munch’s The Scream. Along the way there is much more, including what he learned from reading Ingmar Bergman’s workbooks, the worst thing about living in London, how having children increased his productivity, whether he sees himself in a pietistic tradition, thoughts on Bible stories, angels, Knut Hamsun, Elena Ferrante, the best short story (“Tlön, Uqbar, Orbis Tertius”), the best poet (Paul Celan), the best movie (Scenes from a Marriage), and what his punctual arrival says about his attachment to bourgeois values.
Here is one excerpt:
KNAUSGÅRD: You have this almost archetypical artist putting his art before his children, before his family, before everything. You have also Doris Lessing who did the same — abandoned her children to move to London to write.
I’ve been kind of confronted with that as a writer, and I think everyone does because writing is so time consuming and so demanding. When I got children, I had this idea that writing was a solitary thing. I could go out to small islands in the sea. I could go to lighthouses, live there, try to write in complete . . . be completely solitary and alone. When I got children, that was an obstruction for my writing, I thought.
But it wasn’t. It was the other way around. I’ve never written as much as I have after I got the children, after I started to write at home, after I kind of established writing in the middle of life. It was crawling with life everywhere. And what happened was that writing became less important. It became less precious. It became more ordinary. It became less religious or less sacred.
It became something ordinary, and that was incredibly important for me because that was eventually where I wanted to go — into the ordinary and mundane, even, and try to connect to what was going on in life. Life isn’t sacred. Life isn’t uplifted. It is ordinary and boring and all the things, we know.
COWEN: So many great Norwegian writers — Ibsen, Sigrid Undset, Knut Hamsun — there’s nationalism in their work. Yet today, liberals tend to think of nationalism as an unspeakable evil of sorts. How do we square this with the evolution of Norwegian writing?
And if one thinks of your own career, arguably it’s your extreme popularity in Norway at first that drove your later fame. What’s the connection of your own work to Norwegian nationalism? Are you the first non-nationalist great Norwegian writer? Is that plausible? Or is there some deeper connection?
KNAUSGÅRD: I think so much writing is done out of a feeling of not belonging. If you read Knut Hamsun, he was a Nazi. I mean, he was a full-blooded Nazi. We have to be honest about that.
COWEN: His best book might be his Nazi book, right? He wrote it when he was what, 90?
COWEN: On Overgrown Paths?
COWEN: To me, it’s much more interesting than the novels, which are a kind of artifice that hasn’t aged so well.
COWEN: But you read On Overgrown Paths, you feel like you’re there. It’s about self-deception.
KNAUSGÅRD: It’s true, it’s a wonderful book. But I think Hamsun’s theme, his subject, is rootlessness. In a very rooted society, in a rural society, in a family-orientated society like Norway has been — a small society — he was a very rootless, very urban writer.
He went to America, and he hated America, but he was America. He had that in him. He was there in the late 19th century, and he wrote a book about it, which is a terrible book, but still, he was there, and he had that modernity in him.
He never wrote about his parents. Never wrote about where he came from. All his characters just appear, and then something happens with them, but there’s no past. I found that incredibly intriguing just because he became the Nazi. He became the farmer. He became the one who sang the song about the growth. What do you call it? Markens Grøde.
COWEN: Growth of the Soil.
COWEN: Arnold Weinstein has a book on Nordic culture, and he argues that the sacrifice of the child is a recurring theme. It’s in Kierkegaard’s Fear and Trembling. It’s in a number of Ibsen plays, Bergman movies. Has that influenced you? Or are you a rejection of that? Are you like Edvard Munch, but with children, and that’s the big difference between you and Munch, the painter?
I told you we ask different questions.
KNAUSGÅRD: Yeah, yeah. You just said different. You didn’t say difficult.
Knausgaard showed up for the taping carrying a package of black bread, which he forgot to take with him when leaving. So for the rest of the day, I enjoyed his black bread…
One of the most widely used screenplay programs in Hollywood has a new tool to help with gender equality and inclusion.
In an update announced Thursday, Final Draft — software that writers use to format scripts — said it will now include a proprietary “Inclusivity Analysis” feature, allowing filmmakers “to quickly assign and measure the ethnicity, gender, age, disability or any other definable trait of the characters,” including race, the company said in a statement.
It also will enable users to determine if a project passes the Bechdel Test, measuring whether two female characters speak to each other about anything other than a man. The Final Draft tool, a free add-on, was developed in collaboration with the Geena Davis Institute on Gender in Media at Mount Saint Mary’s University, which has been at the forefront of studying the underrepresentation of women on screen.
Here is the full Melena Ryzik NYT story.
She requires no introduction, this conversation involved a bit of slapstick, so unlike many of the others it is better heard than read. Here is the audio and transcript. Here is the opening:
COWEN: Just to start with some basic questions about Canada, which you’ve written on for decades — what defines the Canadian sense of humor?
MARGARET ATWOOD: Wow. [laughs] What defines the Canadian sense of humor? I think it’s a bit Scottish.
COWEN: How so?
ATWOOD: Well, it’s kind of ironic. It depends on what part of Canada you’re in. I think the further west you go, the less of a sense of humor they have.
ATWOOD: But that’s just my own personal opinion. My family’s from Nova Scotia, so that’s as far east as you can get. And they go in for deadpan lying.
COWEN: In 1974, you wrote, “The Canadian sense of humor was often obsessed with the issue of being provincial versus being cosmopolitan.”
COWEN: You think that’s still true?
ATWOOD: Depends again. You know, Canada’s really big. In fact, there’s a song called “Canada’s Really Big.” You can find it on the internet. It’s by a group called the Arrogant Worms. That kind of sums up Canada right there for you.
The burden of the song is that all of these other countries have got all of these other things, but what Canada has is, it’s really big. It is, in fact, very big. Therefore, it’s very hard to say what is particularly Canadian. It’s a bit like the US. Which part of the US is the US? What is the most US thing —
COWEN: Maybe it’s Knoxville, Tennessee, right now. Right? The Southeast.
ATWOOD: You think?
COWEN: But it used to be Cleveland, Ohio.
ATWOOD: Did it?
COWEN: Center of manufacturing.
ATWOOD: When was that? [laughs] When was that?
COWEN: If you look at where the baseball teams are, you see what the US —
And from her:
ATWOOD: Yeah, so what is the most Canadian thing about Canada? The most Canadian thing about Canada is that when they ran a contest that went “Finish this sentence. As American as apple pie. As Canadian as blank,” the winning answer was “As Canadian as plausible under the circumstances.”
And a question from me:
COWEN: But you’ve spoken out in favor of the cultural exception being part of the NAFTA treaty that protects Canadian cultural industries. Is it strange to think that having more than half the [Toronto] population being foreign born is not a threat to Canadian culture, but that being able to buy a copy of the New York Times in Canada is a threat?
In addition to Canada, we talk about the Bible, Shakespeare, ghosts, her work habits, Afghanistan, academia, Peter the Great, writing for the future, H.G. Wells, her heretical feminism, and much much more.
Southern Ontario — the most populous part of Canada lying north of Lake Ontario and Lake Erie — displays a similar bottom to top quintile mobility as adjacent regions in Michigan, Ohio, and New York State, most regions being categorized in the 0.05 to 0.10 range. This said, some areas of Quebec adjacent to New York State, Vermont, and New Hampshire display a lower probability than their counterparts in Ontario and New England. Regions with rather high chances of escaping low income and rising to the very top quintile cover the American midwest, where in most Commuting Zones the probability is more than 20 percent, similar probabilities being experienced in the adjacent regions of western Canada.
That is from a new paper by Marie Connolly, Miles Corak, and Catherine Haeck. I take that to be fairly strong evidence for the “culture matters” view of mobility, rather than the “policy is everything” view.
To the extent the United States has lower mobility than Canada, it is largely because so many people here live in the low-mobility regions of the American South.
A phenomenal movie, by Chinese director Jia Zhangke (A Touch of Sin, 2013), large screen only. The reviews are very positive but mostly nonsense. Here are the two things you need to know to understand this movie:
1. Most of what is on the screen after the Three Gorges scene probably isn’t really happening. The woman is crazy and is dreaming or imagining it. There is plenty of absurd coincidences and contradictory information (the health and mind-state of the ex-boyfriend are various fantasy versions), but the real clincher is when the UFO appears. How can so many reviewers (NYT) be baffled by this?
2. The film is a stinging critique of the CCP, in Straussian fashion, and much of the action is a running commentary on a previous Chinese film, the wonderful The Chinese Mayor (maybe the best movie about how China works?). Both are set in Datong, a quite undistinguished Chinese city in Shanxi, and Ash is Purest White shows how the building of Datong, glorified in the earlier movie, is in fact based on corruption and mob rule. Also check out the surveillance and Xinjiang references for a full understanding of the politics of this movie.
Some cinema owners do not seem to think that movies without subtitles will have a future in Denmark, and have completely abandoned them, according to the country’s public broadcaster.
But they mean for movies in Danish:
Pedersen blames the necessity for subtitles on the evolution of the use of Danish in movies. Whereas in the past, actors were focused on articulating themselves in a way understandable for everyone, their main emphasis has now shifted to being as authentic as possible. Hence, many actors have chosen not to imitate more common dialects and have stuck to local versions of Danish. “It’s a small country, but there are big differences between the Danish dialects,” Pedersen explained.
But couldn’t Danish actors put at least a bit more emphasis on mumbling less to attract a bigger audience? Well, apparently not.
“It is difficult to ask actors to speak more clearly. … Sometimes, speaking the most common Danish accents would simply make the movies and the characters seem implausible,” Peter Frandsen Siggaard, a journalist for the country’s public broadcaster, explained.
Yes, there will be a public event at GMU Arlington on April 8, a Conversations with Tyler, you can register here. So what should I ask her?
Here is the transcript and audio, we covered so much, here is the CWT summary:
How much has the U.S. actually fixed the financial system? Does India have the best food in the world? Why does China struggle to maintain a strong relationship with allies? Why are people trading close-knit communities for isolating cities? And what types of institutions are we missing in our social structure? Listen to Rajan’s thorough conversation with Tyler to dive into these questions and much more.
Here is one excerpt:
COWEN: A lot of observers have suggested to me that the notion of a kind of Anglo-American liberalism as ascendant in India is now a dead idea, that ideologically, India has somehow shifted, and the main currents of thought, including on the so-called right, are just really not liberalism anymore. Do you have a take on that view?
RAJAN: I’m not sure I would agree. I would say that we’ve had a government over the last five years which has elements of the majoritarian, Hindu nationalist group in it. But I would argue the country, as a whole, is still firmly secular, liberal in the Nehruvian idea, which is that we need a country which is open to different religions, to different ethnicities, to different beliefs if we are to stay together.
And democracy plays an important role here because it allows some of the pressures which build up in each community to essentially get expressed and therefore diffuses some of the pressure. So I think India’s ideal is still a polyglot coming together in this country.
COWEN: But someone like Ramachandra Guha — what he symbolizes intellectually — do you think that would be a growing part of India’s future? Or that will dwindle as colonial ties become smaller, the United States less important in global affairs?
RAJAN: I think that an open, liberal, tolerant country is really what we need for the next stage of growth. We are now reaching middle income. We could go a little faster. We should go a little faster there.
Once we reach middle income, to grow further, I think we need an intellectual openness, which only the kind of democracy we have — the open dialogue, a respectful dialogue — will generate the kinds of innovative forces that will take us more to the frontier.
So I keep saying, and I say this in the book, we’re very well positioned for the next stage of growth, from middle to high income. But we first have to reach middle income.
COWEN: Will current payments companies end up as competitors to banks or complements to the banking system? Or are they free riders on the banking system?
RAJAN: I think they’re trying to figure out their space. As of now, sometimes they’re substituting for . . . Certainly, my daughter uses her payment system completely separate from her bank account. But longer term, we’ll find ways of meshing these in and reduce the costs of making payments. Those costs are really too high at this point, and reducing those costs makes a lot of sense.
COWEN: Will banks ever be truly excellent at doing software?
RAJAN: I think we will have a combination of the guys who are truly good at software — the fintech companies — merging with banks who know how to do the financial side. They’ll bring each of their talents together. I’ve seen a lot of fintech people who have no clue as to what finance is really about. And I’ve seen a lot of banks who have no clue as to what tech is about. I think some merger will happen over time.
There is much more at the link. And here is Raghu’s new book The Third Pillar: How Markets and the State Leave Community Behind.
That is a new and forthcoming book by Michael H. Kater, excerpt:
The book’s first contention is that in order for a new Nazi type of culture to take hold, the preceding forms first had to be wiped out. This mainly affected the artistic and intellectual achievements most hated by the Nazis, those of the Weimar Republic, whose aesthetic and political hallmark was Modernism. The police controls Hitler used to carry out purges in political and social contexts were also used against Modernist art forms and their creators…
However, as far as films were concerned, the most acute interest shown by Hitler was in the weekly newsreels. These embodied for him what film was all about: an ideal instrument for political control. He regularly commented on newsreels to Goebbels, and had some several cut or modified. More so than in the case of feature films, Hitler was liable to override any decisions Goebbels had already made on them. Even long before the war broke out Hitler was adamant that newsreels display the heroic…
Recommended, even if you feel you’ve had your fill of books on Nazi Germany.
Yes, the Sam Altman of Y Combinator and Open AI. We even got around to Harry Potter, James Bond (and Q), Spiderman, Antarctica, and Napoleon, what is wrong with San Francisco, in addition to venture capital and the hunt for talent. Here is the transcript and audio. Here is one excerpt:
ALTMAN: I think our greatest differentiator is not how we identify talent, although I will answer that question, but the fact that we treat our own business — we run Y Combinator in the way that we tell our startups to run as a successful startup, which almost no venture capital firm does.
Almost every venture capital firm gives advice they never follow themselves. They don’t build differentiated products. They are not network-affected businesses. They don’t try to build a brand and a community. And they don’t try to make something that gets better the bigger it gets and have the scale effects that anyone would tell you they want in a business.
We at Y Combinator always say we want to get a lot bigger because this is a network effect, this is a network that matters. Most venture capital firms will say out of one side of their mouth, “Oh no, smaller is better,” because they don’t want to work more. Then they’ll tell all their businesses, “The network effect is the only thing that matters.”
Many people are as smart as we are, think about the world in similar ways. But I think we have internalized that we run our firm the same way we tell our startups to operate, and we view the most important thing that we do is to build a network and a network effect.
COWEN: Let me play venture capital skeptic, and you can talk me back into optimism.
ALTMAN: I might not.
COWEN: Let’s say I say, tech has had a stream of big hits: personal computer, internet, cell phone, mobile. You’ve had a lot of rapidly scalable innovations become possible in a short period of time. We’re now in a slight lull. We’re not sure what the next big thing is or when it will come. Without that next big thing, won’t the current equilibrium require a higher rate of picking the right talent than venture capitalists are, in fact, able to do?
ALTMAN: I will talk you out of that one, happily. The most expensive investing mistake in the world to make is to be a pessimist, and it’s a common one. I think that’s actually the most common mistake to make in life. It is true that we are in a lull right now, but it is absolutely, categorically false that — unless the world gets destroyed in a very short term — that we will not have a bigger technological wave then we’ve ever had before.
COWEN: Why can’t I be an optimist but not an optimist about VC? I think new ideas will come through established companies. They’ll be funded by private equity. They’ll happen in China. But the exact formula where you can afford to make so many mistakes because the hits are so big — to what extent does VC rely on that kind of rapid scalability that may not come back?
COWEN: Young Napoleon shows up. What do you think after 5 minutes?
ALTMAN: How young? Like 18-year-old Napoleon or 5-year-old?
COWEN: Before he’s famous, 21-year-old Napoleon.
ALTMAN: From everything I’ve read that would be a definite yes. In fact, the best book I read last year is called The Mind of Napoleon, which is a book of quotes about his views on everything. Just that thick on Napoleon quotes. Obviously deeply flawed human, but man, impressive.