I hardly expected the movie to be so drenched in Tarkovsky (“The Zone” and Solaris, maybe a bit of The Sacrifice), and the now-famed sex scene draws from Bergman’s Persona. Overall, the colors and palette were stunning, and the use of sound was as impressive as in any movie, do see this one in IMAX. It hardly makes any concessions to the Hollywood vices of this millennium and indeed much of the Tysons Corner audience seemed to be baffled.
Think of the main plot line as showing a world where the Christ miracle is inverted and what that would have to mean for everything else. Much of the plot is sprawling, some of the references are too heavy-handed or scattered (Moses and the Dalai Lama and Kafka and Star Wars 1-2 are thrown in for good measure, and few will grok the Galatians reference), and the whole thing could have been fifteen minutes shorter. Still, this is a worthy sequel to one of the best movies of the 1980s or is that the 1990s? Carla Juri steals the show, and furthermore it resolves the main plot puzzle of the original Blade Runner rather economically.
Also on the plus side, Adam Driver does not appear in this movie.
From my email:
Hi, Mr. Cowen. I recently read The Complacent Class recently and enjoyed it. I’m writing because there’s an another example of American complacency that’s only come to light in recent weeks…
Specifically: the Billboard music charts..
Shape of You by Ed Sheeran last week broke the record for most weeks in top 10, with 33 weeks. The song it beat, Closer by The Chainsmokers and Halsey, set the previous record less than a year ago. http://www.billboard.com/articles/columns/chart-beat/7948959/ed-sheeran-shape-of-you-record-most-weeks-top-ten
(And yet another song in last week’s top 10, That’s What I Like by Bruno Mars, currently holds the 8th-longest record on that metric — and potentially still rising.)
Meanwhile, Despacito by Luis Fonsi, Daddy Yankee, and Justin Bieber tied the all-time record with its 16th week at #1: http://www.billboard.com/biz/articles/news/record-labels/7942315/luis-fonsi-daddy-yankee-justin-biebers-despacito-ties-for
Meanwhile, the biggest country song in the nation right now, Body Like a Back Road by Sam Hunt, is currently in its record-extending 30th week at #1 on the Hot Country Songs chart: http://www.billboard.com/files/pdfs/country_update_0905.pdf
This did not happen in decades past. Look at the Billboard charts from the ’80s — it was a new #1 song almost every week! https://en.wikipedia.org/wiki/List_of_Billboard_Hot_100_number-one_singles_of_the_1980s
Just like how you describe in your book how people are moving less and want to stay in the same town where they were before, or how they’re switching jobs less and want to stay in the same job where they were before, people apparently just want to listen to the same songs they’ve been listening to already.
That is from Jesse Rifkin, who is a journalist in Washington, D.C. who writes about Congress for GovTrack Insider and about the film industry for Boxoffice Magazine. Jesse sends along more:
And if you want links for statistical evidence, here are two — one about which movies have spent the most weekends in the box office top 10, the other about which songs have spent the most weeks in the Billboard top 10:
Reed Hastings, the Netflix CEO who co-founded the company long before “streaming” entered the popular lexicon, was born during a fairly remarkable year for film. 1960 was the year Alfred Hitchcock’s Psycho astounded and terrified audiences, influencing a half-century of horror to come. It was a year of outstanding comedies (Billy Wilder’s The Apartment), outstanding epics (Stanley Kubrick’s Spartacus) and outstandingly creepy thrillers (Michael Powell’s Peeping Tom—a close cousin of Psycho).
But in the vast world of Netflix streaming, 1960 doesn’t exist. There’s one movie from 1961 available to watch (the original Parent Trap) and one selection from 1959 (Compulsion), but not a single film from 1960. It’s like it never happened. There aren’t any movies from 1963 either. Or 1968, 1955 or 1948. There are no Hitchcock films on Netflix. No classics from Sergio Leone or François Truffaut. When Debbie Reynolds died last Christmas week, grieving fans had to turn to Amazon Video for Singin’ in the Rain and Susan Slept Here. You could fill a large film studies textbook with what’s not available on Netflix.
Netflix’s selection of classic cinema is abominable—and it seems to shrink more every year or so. As of this month, the streaming platform offers just 43 movies made before 1970, and fewer than 25 from the pre-1950 era (several of which are World War II documentaries). It’s the sort of classics selection you’d expect to find in a decrepit video store in 1993, not on a leading entertainment platform that serves some 100 million global subscribers.
The bottom line is that streaming rights are expensive, whereas for shipping around DVDs the company can simply buy a disc. Alternatively, you could say that the law for tangible media — such as discs — is less infested with special interests than the law for digital rights? What does that say about our future?
Plastic surgeons who give you Vulcan and elfin-like ears:
Of course, looking naturally elflike is not everyone’s goal. Luis Padron, 25, who owns a cosplay business in Argentina, said he has spent over $35,000 in surgeries and procedures including skin lightening, nose surgery and hair removal for his sylvan shape-shifting. His look has been influenced by Katherine Cardona, a contemporary illustrator specializing in fairies, and Sakimichan, a gender-bending fantasy digital artist.
Padron plans to change his eye color to violet using an intraocular implant procedure in New Delhi (not approved by the Food and Drug Administration) because “it is the color of magic, fantasy, dreams and imagination,” he said. The idea is on point, elfishly speaking, when you consider that Bloom, who wore blue contact lenses in the Tolkien film, once described elves as “incredible angelic spirits who create and appreciate great beauty.”
To complete his elflike transformation, Padron is planning a heart-shaped hairline implant and PRP scalp injections in Beverly Hills, California, because “elves have long hair,” he said. He is also planning more plastic surgery in South Korea, including Adam’s apple reduction, jaw reshaping and limb lengthening, and plans to finish his look with ear pointing surgery, which he calls “the cherry on top.”
Waiting time for ear pointing, however, is over a year, and over 40 percent of elf-ear wishers don’t have the right cartilage to perform the modification, Von Cyborg said. Black was one of the lucky ones.
Here is the full story. Should this be subsidized or taxed?
Here is the transcript and audio (no video).
We discuss what makes Florida special, why business writing is so terrible, Eddie Murphy, whether social conservatives can be funny (in public), the weirdness of Peter Pan, how he is so productive, playing guitar with Roger McGuinn, DT, the future of comedy, and much much more. Here is one excerpt:
COWEN: If I look at old slapstick, it doesn’t seem funny at all. Intuitively, you would think slapstick, being only physical, would have a much longer half-life. What I find funny is very culturally specific references. Now, am I strange?
BARRY: Well, not about slapstick. When I was a little guy, I maybe thought that the Three Stooges were kind of funny but that stopped a long time ago. Some physical humor is still funny to me. Abbott and Costello were pretty physical, but they were funny without being slapstick. Just hitting each other in the nose and going, “nyuk, nyuk, nyuk” never struck me as funny at all. I have forgotten the second part of your question.
On different comedians and what’s not funny anymore
COWEN: You mentioned Abbott and Costello. If you’re willing, I’ll talk about a few comedians, or mention a few, and you can tell me what you found funny with them, didn’t find funny.
Let’s start with Abbott and Costello. Favorite of my father. I’ve watched almost all the movies. As I kid, I didn’t find them funny, but I actually started to find them funny in retrospect after having watched a bit of Seinfeld and Larry David. What’s your take on Abbott and Costello?
BARRY: Yeah, I can see the connection there. It more relies on you letting it — the humor — slowly develop and the characters themselves being the humor without coming right out and saying what’s funny about it: The one who never understands what’s going on, the one who’s always losing his patience with the other one. The first, maybe, three or four times, it’s just mildly amusing. But after a while, when you see it coming, that becomes very funny to you.
It’s very rare to find that kind of patience in humor anymore. I don’t think the audience is as generous as it used to be, allowing humor to build the way it did in an Abbott and Costello sketch.
COWEN: And is Abbott or Costello funnier to you? Abbott being the straight man.
BARRY: Yeah, I think Abbott is funnier.
COWEN: I think he’s much funnier.
Most of all, I was impressed by Dave Barry as a managerial force for his own career. Again, here is the link.
Yana and I saw this Bruce Lee movie last night over Dan Klein’s house, for me it was my first viewing since my undergraduate days. A few points struck me:
1. Hong Kong is portrayed as a poor, dumpy ghetto; this was 1973. The Technicolor shots of the city are gorgeous.
2. Black Power, in the character of Williams [Jim Kelly], is shown to be a fundamentally moral and emancipatory force. And as was so common in movies from the 1970s and 80s, the black guy “gets it.”
3. The main villain, Han, reminded me of Chairman Mao, except that the role of the West in the opium trade is inverted and placed on Mao [Han] himself. It is no surprise that Mao’s China banned the movie.
4. Bruce takes on and defeats a whole group of unimpressive karate experts — was that intended as an anti-Japanese slam?
5. Angela Mao, who played Bruce Lee’s sister, steals the show. She now lives in Flushing, Queens (NYT).
6. The American male heroes seem not to mind that the women they are given to sleep with are essentially slaves, held under coercion or otherwise dubious circumstances. The movie seems not to mind that the male heroes do not mind. And an analogous film today would not have nude scenes, for several reasons, one being the desire to sell it to…China.
6b. The politically incorrect ranking in terms of libido is black > white > Asian, without any apology or attempt at subtlety.
7. Many scenes reminded me of the James Bond flick You Only Live Twice, and also Dr. No. It is a common theme in movies from that time that a hero can use a diversion to take over a command center; is that still done? The final mirrors trick seemed to be taken from Orson Welles’s The Lady from Shanghai. Yana remarked that many of the underground sets looked like they were borrowed from Star Trek, and that the “turn the corner” suspense scenes seem to have anticipated Star Wars.
8. “Jackie Chan appears as a guard during the underground lair battle scene and gets his neck snapped by Lee.”
9. The score by Lalo Schifrin remains compelling and Bruce dominates every scene he is in.
10. As was often the case in those times, the exposition is relatively slow, much of the action is saved for the last half hour, and finally the film just ends.
I am in Delaware only briefly. I have not covered the state before, so here are some of my picks:
1. Chemicals manufacturer: I think that one has to go to the Duponts, I enjoyed the Gerard Zilg biography of the Dupont family and history.
2. Economic historian: Alfred Chandler.
3. Monetarist who studied policy instruments and uncertainty: William Poole.
4. Semi-libertarian journalist: Dave Weigel.
Hmm…music? I don’t like George Thorogood. A quality novelist? How about a painter or sculptor? Some big time NBA star? Biden is my favorite of Obama’s VPs. It is claimed that the movie Fight Club is set in Delaware. So many special dishes too, in the local cuisine.
The bottom line: Small wonder it is!
That is the title of an extraordinary Chinese-Tibetan film (with English subtitles, even in Kunming), here is one description:
A birth, a death, a pilgrimage. A film about the 1,200-mile journey of a pregnant woman, a butcher who wants to atone for his sins and a rag-tag band of villagers who go on foot from their small village in Tibet to the sacred Mt. Kailash has become a surprise winner at the Chinese box office.
It is doing better here per screen than Transformers 5 (or is that 6?). Here is more about the plot premise;
They travel wearing thick aprons made of yak hide and wooden planks tied to their palms. Every few feet, they raise their hands high above their heads in respect for the Buddha, then lower their worshipping hands to their forehead and then to their chest before diving into the ground, touching the earth with their foreheads. To an outsider, the ritual looks like bodysurfing on solid ground. While they chant a simple mantra, devotees lie flat on their stomachs with their hands bent at their elbows, pointing toward the heavens in a sign of prayer. Then they stand up and repeat these steps as the summer’s scorching asphalt roads turn into slippery ice-covered tracks in the winter.
It turns out this is a real thing, as they say back in The Great NJ, and they keep it up for 1200 km over the course of a year (really). Strapped babies and small children partake as well. And this isn’t a pure outlier, as my Yunnanese friend Jimi tells me he has seen it many times in Tibet on the open road.
You may think it all sounds silly, but by the end of the film you realize that what you are doing with your own life isn’t actually so different and is perhaps in some ways less valuable.
I’m calling this as one of the two or three best movies of the year, or indeed of any year. Highly recommended on the big screen, though here you can find it on Amazon. It goes without saying that the film is full of social science.
Here is the transcript and podcast (no video). Jill and I discuss Mary Pickford, Dickens in America, why the early United States did not blossom culturally, Steve Bannon as a character from a 19th century painting, what the Tea Party got wrong and right, H.G. Wells, her working class background, Doctor Who and Gilligan’s Island, Elizabeth Bishop, what Americans don’t like about New England, Stuart Little, how she got her start as a secretary at HBS, and many other topics. Highly intelligent throughout, though note it is not easy to excerpt. Here is one good bit:
COWEN: You’ve argued at times that people overestimate the connectedness of the present with the American past. It’s not just that the past is a foreign country as Peter Laslett suggested, but it’s indeed stranger in some sense. If we could undo those mistaken intuitions about, “Oh this is like the 1960s” or “This is like Andrew Jackson,” whatever the analogy may be, what’s a concrete example of how that could improve our understanding of the current world?
LEPORE: I like to think about it in a different structural way. That completely understandable desire to find a historical analogy is just like to take an accordion and compress it.
LEPORE: They make then just like now. So, “Oh I know, Trump is just like Andrew Jackson. It’s the same move. He’s appealing to the people. He’s unwilling to enforce the rulings of the Supreme Court. He’s overriding Congress in order to get the mandate.” Whatever it is that you want to say about those two people. And that seems to me really quite kooky.
A different move that I find much more edifying and historically defensible is to pull open the accordion and stretch it open as far as you can, so you can see the distance between now and Andrew Jackson, the distance between Trump and Jackson, and try to understand what happened between those two characters and those two presidencies that helps us to see transformation. It’s a little bit like some of the controversy over how to interpret the Constitution. Because originalism, to me, is like squishing that accordion all the way together. “What would James Madison think?” is the question that originalists want to ask. Whereas I want to know what happened between when Madison thought that and here where we are now. And that’s a very different kind of constitutional interpretation.
In 1987, when it was the 200th anniversary of the Constitutional Convention, there was a lot of hoopla. It was right after the Robert Bork nomination, and then originalism was very much the priority of the Reagan justice department under Edwin Meese, and there’s a lot of conversation about the filial piety of a bicentennial. And this is an exciting thing to think about, that 200th anniversary of the Constitution.
Thurgood Marshall, as you know, the first African American Supreme Court justice who’d argued Brown v. Board of Education in 1954 — he was asked, “Are you going to participate in the hoopla, the bicentennial hoopla of the Constitution?” He gives this incredibly powerful speech in which he says, “No. You know what I’m willing to celebrate, not that document, which was flawed. Let’s just understand the ways in which it was flawed. I will celebrate the 200 years since, the 200 years of struggle to make good on the promises of that document.” And it’s that kind of thinking, that kind of historical thinking that contributes to our popular culture and to our discussions of the relationship between the past and the present, more than that desire to really collapse things and say, “Oh it’s 2008; this is just like 1932.” It’s not. It’s really not like 1932.
LEPORE: I remained somewhat befuddled by how a lot of things happen in the world.
Jeff Ely has a hypothesis:
Everyone who has armchair-theorized why movie theaters don’t sell assigned seats in advance is now obligated to explain why this has changed and how that’s consistent with their model.
I will start. My theory was based on the value of advertising to movie-goers who must arrive early to get preferred seats and then are a captive audience. This has become significantly less valuable now that said movie-goers can bring their own screens and be captive to some other advertiser.
Top 25 of the Century
Lord of the Rings
In the Mood for Love
Uncle Boonmee Who Can Recall his Past Lives
Once Upon a Time in Anatolia
Mountains May Depart
The Piano Tuner of Earthquakes
Memories of Murder
Very enjoyable and well-paced, at least until the very end, and Gal Gadot is spectacular. Yet immediately beneath the facade of the apparently rampant feminism is a quite traditional or even reactionary tale of martial virtue being inescapable, gender attraction overwhelming all other social considerations, and Christian sacrifice and redemption. (Hollywood is usually less left-wing than you think it is going to be.) Beyond that, the visuals are striking, the scenes of WWI London ring true, the chemistry between the two leads is evident, and the 3-D effects add value. The soundtrack/score could have been better. The informed viewer will notice cinematic references to the key “charge the Anthill” scene of Kubrick’s Paths of Glory, blatantly restaged with the marginal impact of Wonder Woman, various Batman movies, Transformers, Ray Harryhausen, and Sky Captain and the World of Tomorrow, among other creations. The final image left me unsettled and I am glad they had the guts to leave it in; this is not a movie opposed to violence.
If you can play the “Imperial March” in less than 12 parsecs, you’ll want to check out this highly customized Millennium Falcon piano up for auction on eBay. The piano starred in a popular YouTube video featuring pianist Sony Belousova turning out an impressive medley of Star Wars music.
Hat tip goes to Ted Gioia.
Yes, the Garry Kasparov, here is the link to the podcast and transcript. We talked about AI, his new book Deep Thinking: Where Machine Intelligence Ends and Human Creativity Begins, why he has become more optimistic, how education will have to adjust to smart software, Russian history and Putin, his favorites in Russian and American literature, Tarkovsky, his favorite city to play chess in, his match against Deep Blue, Ken Rogoff, who are the three most likely challengers to Magnus Carlsen (ranked in order!) and who might win. Here is one excerpt:
GK: The biggest problem, and I’ve been talking about for quite a while, that we’re still teaching very specific knowledge in the schools. Instead of teaching what, we have to teach how because this knowledge may be redundant 10 years from now. We are preparing kids for the world that will change dramatically. By the way, we already know it will look different. So what’s the point of trying to teach kids at age 10, 11, 12 without recognizing the fact that when they finish college, when they will become adults looking for jobs, the job market will be totally different?
COWEN: …If we look back on centuries of Russian history, do you think there’s something in Russian geography or demographics or geopolitics — what has it been that has led to such unfree outcomes fairly systematically?
Where do you find the roots of tyranny in the history of Russia? Is it a mix of the size of the country, its openness to invasion, its vulnerability, something about being next to a dynamic Europe, on the other side, China? What is it?
KASPAROV: It’s a long, if not endless, theoretical debate based on our interpretation of certain historical events. I’m not convinced with these arguments about some nations being predetermined in their development and alien to the concept of democracy and the rule of law.
The reason I’m quite comfortable with this denial . . . We can move from theory to practice. While we can talk about history and certain influence of historical events to modernity, we can look at the places like Korean Peninsula. The same nation, not even cousins but brothers and sisters, divided in 1950, so that’s, by historical standards, yesterday.
Let’s look at Russia and Ukraine, and let’s look, not at the whole Ukraine, but just at eastern Ukraine. Eastern Ukraine is populated mostly by ethnic Russians. In the former Soviet Union, the borders between republics were very nominal. People could move around, it was not a big deal. Even after the collapse of the Soviet Union, the official state border between Russia and Ukraine was respected, but people still could move around. They didn’t need special visas.
When we look at ethnic Russians born and raised in Kursk and Belgorod on the Russian side and across the border, say in Kharkiv and Dnipropetrovsk on the Ukrainian side, there were people that could be hardly separated anything. They read the same newspaper, Pravda, watched the same television, spoke the very same language, not even accents. But somehow, in 2014, after Putin’s annexation of Crimea and invasion of eastern Ukraine, we saw a huge difference. Most of ethnic Russians in Ukraine signed for the Ukrainian army, fighting against Putin’s invasion, against the same Russians that came from the other side.
It could be a long debate, but I would say that one of the main reasons is that Ukraine experienced in 1994 a gradual transition of power from one president to another after sitting president Leonid Kravchuk lost elections and walked away. Ukrainians somehow got an idea that power is not sacred, and government can come and go, and they can remove it by voting.
And even despite the fact that Ukraine never experienced higher living standards than Russia, people realized that keeping this freedom, keeping this ability to influence their bureaucrats and government through the peaceful process of voting and, if necessary, striking, far more effective than Russia’s “stability” where the same leader could be in charge of the country with his corrupt clique for a long, long time.
On computer chess, I most enjoyed this part of the exchange:
KASPAROV: But I want to finish this because what we discovered in this process . . . I wouldn’t overweight our listeners with all these details. I don’t want just to throw on them the mass information.
COWEN: It’s amazing what people will enjoy, though. You’d be surprised.
Self-recommending! We cover many other topics as well, again you can read or listen here.
And I strongly advise that you buy and read Garry’s wonderful new book Deep Thinking: Where Machine Intelligence Ends and Human Creativity Begins.
Stubborn Attachments is the advance peek bonus book I offered to those who pre-ordered The Complacent Class. I once described Stubborn Attachments as follows:
In that work, I outline a true and objectively valid case for a free and prosperous society, and consider the importance of economic growth for political philosophy, how and why the political spectrum should be reconfigured, how we should think about existential risk, what is right and wrong in Parfit and Nozick and Singer and effective altruism, how to get around the Arrow Impossibility Theorem, to what extent individual rights can be absolute, how much to discount the future, when redistribution is justified, whether we must be agnostic about the distant future, and most of all why we need to “think big.”
Unlike the last few sequences of Tyler’s longer published works — the books on culture and economics, the self-help via economics wisdom books, and the Stagnationist trilogy — Stubborn Attachments is foundational Tyler. It represents the Tyler from which the distinctive contrarian and provocative and educational and speed-reading and culture-savvy and eccentric Tylers all emerge.
It is also the most comprehensive expression of Tyler’s particular brand of libertarianism that I have read.
There is also a “desert island” section of the podcast, where Cardiff asks me which bodies of film, for instance which directors, I would most want to have on a desert island. He also asks me to construct my NBA “Dream Team,” which indeed I do for him.