With all those fools going to bars and concerts, or running marathons, it is evident we still need to solve the problem of entertainment, as I argue in my new Bloomberg column.
It is instructive to look back to the days of World War II. The U.S. government played a critical role in encouraging Hollywood to make cheery movies, and it helped by not trying to force every actor into the armed services. Major league baseball, the national pastime of the era, continued to hold a regular season and a World Series, again to distract people from wartime worries. Many top players, such as Ted Williams, were away fighting, but there were adequate replacements. The government knew that wartime drama could not be the only drama on tap.
With Covid-19, the goal is to keep people at home, at least if they are not essential workers. But if staying at home is too boring, cabin fever will take over and people will run out to social gatherings when they ought to be staying put. So solving the entertainment problem is one very real piece of the puzzle for minimizing the effects of the coronavirus and keeping Americans not just in good spirits but healthy.
The very worst scenario is that the coronavirus itself — how it is playing out, how officials and celebrities and neighbors are reacting — becomes our main entertainment. It could become an ongoing horror show that drives us crazy and makes people even more cynical about politics.
To avoid such a mix of frustration and terror, I have a modest proposal: We should restructure a few of our traditional entertainments to be safe from the coronavirus.
As suggested on Twitter, how about inducing a few of the cable providers to offer free streaming for a few months? The Met has announced a big increase in opera streaming. And:
Or how about proceeding with some version of the NBA Finals? Take a subset of the best qualifying teams, test every player for coronavirus, isolate them in a remote area with a college gymnasium, and have them proceed with a shortened version of the real thing in front of only a TV crew. With so many other public events closed down, television viewership would probably reach an all-time high, and the sense of drama would be incredible. It would be one NBA Finals we would never forget, and the quality of play would respond to the very high psychological stakes.
Ben Golliver serves up a concrete NBA proposal. You’ll have to click through to get to the Browning and Bergman parts, the latter being Easter egg. At least the Candidate’s Tournament still seems to be on in chess, you can all watch that for the next few weeks, starts Tuesday I believe, try www.chessbomb.com.
Lecturing alone won’t work: we really do need to make it more fun for people to stay at home!
The Santa Monica Observer noted the death of soap opera actress Marj Dusay who also appeared as the alien thief in the classic Start Trek episode “Spock’s Brain”:
…The episode is generally regarded by most fans, and those who took part in its production, as the worst episode of the series. William Shatner called this one of the series’ worst episodes, calling the episode’s plot a “tribute” to NBC executives who slashed the show’s budget and placed it in a bad time slot.
Leonard Nimoy wrote: “Frankly, during the entire shooting of that episode, I was embarrassed – a feeling that overcame me many times during the final season of Star Trek.”
…In his book What Were They Thinking? The 100 Dumbest Events in Television History, author David Hofstede ranked the episode at #71 on the list.
The rock band Phish performs a song entitled “Spock’s Brain”
So what? Well here is the part that caught my attention:
The episode was referenced in Modern Principles: Microeconomics by Tyler Cowen and Alex Tabarrok of George Mason University as an example of how it is virtually impossible to have a command economy; in that not even Spock’s brain could run an economy.
In other words, we also thought it was one of the worst episodes ever because of the bad economics. Econ instructors should use our textbook! Where else can you learn about Spock’s Brain and the command economy?
By the way, I’m pretty sure the obit was AI generated but heh the AI did a good job! I am aware of the irony.
Here is the transcript and audio, here is part of the summary:
Tim joined Tyler to discuss the role of popular economics in a politicized world, the puzzling polarization behind Brexit, why good feedback is necessary (and rare), the limits of fact-checking, the “tremendously British” encouragement he received from Prince Charles, playing poker with Steve Levitt, messiness in music, the underrated aspect of formal debate, whether introverts are better at public speaking, the three things he can’t live without, and more.
Here is one bit near the opening:
COWEN: These are all easy questions. Let’s think about public speaking, which you’ve done quite a bit of. On average, do you think extroverts or introverts are better public speakers?
HARFORD: I am an introvert. I’ve never seen any research into this, so it should be something that one could test empirically. But as an introvert, I love public speaking because I like being alone, and you’re never more alone than when you’re on the stage. No one is going to bother you when you’re up there. I find it a great way to interact with people because they don’t talk back.
COWEN: What other non-obvious traits do you think predict being good at public speaking?
HARFORD: Hmmm. You need to be willing to rehearse and also willing to improvise and make stuff up as you go along. And I think it’s hard for somebody to be willing to do both. I think the people who like to rehearse end up rehearsing too much and being too stiff and not being willing to adapt to circumstances, whereas the people who are happy to improvise don’t rehearse enough, and so their comments are ill formed and ill considered. You need that capacity to do both.
And another segment:
HARFORD: …Brian Eno actually asked me a slightly different question, which I found interesting, which was, “If you were transported back in time to the year 700, what piece of technology would you take — or knowledge or whatever — what would you take with you from the present day that would lead people to think that you were useful, but would also not cause you to be burned as a witch?”
COWEN: A hat, perhaps.
HARFORD: A hat?
COWEN: If it’s the British Isles.
HARFORD: Well, a hat is useful. I suggested the Langstroth beehive. The Langstroth beehive was invented in about 1850. It’s an enormously important technology in the domestication of bees. It’s a vast improvement on pre-Langstroth beehives, vast improvement on medieval beehives. Yet, it’s fairly straightforward to make and to explain to people how it works and why it works. I think people would appreciate it, and everybody likes honey, and people have valued bees for a long time. So that would have been my answer.
COWEN: I’ve read all of your books. I’ve read close to all of your columns, maybe all of them in fact, and I’m going to ask you a question I also asked Reid Hoffman. You know the truths of economics, plenty of empirical papers. Why aren’t you weirder? I’ve read things by you that I disagreed with, but I’ve never once read anything by you that I thought was outrageous. Why aren’t you weirder?
The conversation has many fine segments, definitely recommended, Tim was in top form. I very much enjoyed our “Brexit debate” as well, too long to reproduce here, but I made what I thought was the best case for Brexit possible and Tim responded.
That is the new David Attenborough BBC nature show, available on streaming or buy the discs from the UK. Believe it or not it has better footage than the earlier BBC nature shows, while remaining inside the basic template of what such shows attempt to accomplish. Here is a very good Guardian review. Here is a somewhat snotty NYT review, bemoaning Attenborough’s tone of “polite optimism.” Strongly recommended.
I enjoyed the Dracula mini-series on Netflix–it’s smart, stylish and a fresh take. Also, at just three episodes, it’s satisfying without requiring a huge time investment.
Dracula has some pointed commentary on contemporary mores, including economics. After sleeping for a hundred years he finds himself in an ordinary home and speaks to the owner, Kathleen:
D: You’re clearly very wealthy.
D: Yes. Well, look at all this stuff. All this food. The moving picture box. And that thing outside, Bob calls it um, a car. And this treasure trove is your house!
K: It’s a dump.
D: Kathleen, I’ve been a nobleman for 400 years. I’ve lived in castes and palaces among the richest people of any age. Never….never! Have I stood in greater luxury than surrounds me now. This is a chamber of marvels. There isn’t a king, or queen or emperor that I have ever known or eaten who would step into this room and ever agree to leave it again.
I knew the future would bring wonders. I did not know it would make them ordinary.
My picks and Trump and Greta Thunberg, in that order, as explained in my latest Bloomberg column. Excerpt:
My choice for second place is Greta Thunberg. In little more than a year, Thunberg has moved from being an unheard-of 16-year-old Swedish girl to Time’s Person of the Year. While she is now a social media phenomenon, her initial ascent was driven by her public speaking. Communication is quite simply what she does.
As a public speaker, Thunberg is memorable. The unusual prosody of autistic voices is sometimes considered a disadvantage, but she has turned her voice and her extreme directness into an unforgettably bracing style. She communicates urgency and moral seriousness on climate change at a time when the world is not taking decisive action. She mixes anger and condemnation with the look of a quite innocent young girl. Her Swedish version of a British accent is immediately recognizable. There is usually no one else in the room who looks or acts like her.
Her core speech she can give in about five minutes, perfect for an age of limited attention spans. She speaks in short, clipped phrases, each one perfect word-for-word. It is easy to excerpt discrete sentences on social media or on television.
As for memorable phrases, how about these: “I don’t want your hope.” “Did you hear what I just said?” “I want you to panic.” And of course: “How dare you? You have stolen my dreams and my childhood with your empty words.”
These days, you can simply say the name “Greta” in many parts of the world, and people will know who you are referring to.
You will note that under the formal DSM definition of autism, deficits in communication are a fundamental feature of the condition — perhaps that should be changed? Greta uses the term “selective mutism” in describing herself, but clearly the actual reality is more than just a simple deficit, rather an uneven pattern with very high peaks. As I wrote in the column, communicating is what she does.
One other point — I frequently hear or read people charge that Greta is being manipulated by her parents. I have no real knowledge of the Thunberg family, but in the research literature on prodigies it is clear that virtually all of those who have achieved something early had quite extreme self-motivation, a common feature of autism I might add.
Nearly 25 years later, the internet’s full power remains relatively unknown to many people on the island, but its evolution has made Tuvalu’s .tv domain one of its most valuable resources. Thanks to the rise of livestreamed programming and competitive video gaming, Tuvalu earns about 1/12th of its annual gross national income (GNI) from licensing its domain to tech giants like Amazon-owned streaming platform Twitch through the Virginia-based company Verisign. And in 2021, when Tuvalu’s contract with Verisign expires, that percentage figures to push significantly higher…
Here is the full story, there are about 11,000 Tuvaluns. For the pointer I thank Shaffin.
Via Bloomberg, here is one bit:
Consider the 10 best-selling books of the decade. All have female protagonists, and the top seven are authored by women. (“Fifty Shades of Grey” and its sequels take the top three spots, with three others having the word “Girl” in the title.)
The feminization of our culture is for me trend number one. Next in line is screens:
They simply convey more interesting narratives than most of the other spaces in our lives.
There is much more at the link.
Hosted by Alibaba’s founder Jack Ma, the four-hour entrepreneurial talent show had all the production values of The Apprentice.
But the glitzy televised extravaganza, in which 10 contestants battled for $1m in prize money in front of a boisterous audience, took place neither in the US nor China. The action unfolded instead on a stage in Ghana, the first of what is set to be an Africa-wide annual contest as one of China’s best known businessmen scours the continent for younger versions of himself…
Mr Ma came up with the idea of the $1m prize — and the Africa Netpreneur television show to go with it — after meeting young Kenyan entrepreneurs on his first trip to the continent as a special adviser to the UN agency Unctad in 2017…
The Netpreneur show is due to be broadcast in mid-December on two channels with a pan-African presence, South Africa’s DStv and StarTimes, a Chinese media company. During the filming, Mr Ma sat on a raised dais next to three fellow judges: Strive Masiyiwa, the billionaire Zimbabwean founder of telecoms and media company Econet Wireless, Ibukun Awosika, chairman of First Bank of Nigeria, and Joe Tsai, executive vice-chairman of Alibaba.
Where are the Smothers Brothers? Here is the full David Pilling FT story.
There were 496 scripted TV shows made in the US last year, more than double the 216 series released in 2010. In the past eight years the number of shows grew by 129 per cent, while the US population rose only 6 per cent. The trend is set to deepen, as groups like AT&T’s WarnerMedia commission dozens of new series to convince people to sign up for their streaming services.
…In the span of about six months, Disney, Apple, AT&T and Comcast are launching new streaming services, asking people to pay nothing for some services or up to $15 a month to watch their libraries of films and shows.
Here is more from Anna Nicolaou and Alex Barker at the FT. Yes, you might be tempted to short this sector and perhaps I am too. Still, another possible part of the equilibrium adjustment is simply that the market swallows the content and factor prices fall, a’la music streaming. That would be one way to get all of those costly special effects out of so many movies.
Samantha Power has a new and excellent book out, The Education of an Idealist: A Memoir, which I very much enjoyed. And so a Conversation with Tyler was in order, here is the audio and transcript, here is one bit:
COWEN: For a final closing segment, I just have some super simple questions about foreign policy again. Over the course of the last summer, Iran apparently seized two British tankers. There’ve been other incidents in the Strait of Hormuz in some way connected with Iran. From a game-theoretic point of view, why would they do this? Why does this make sense?
POWER: Well, the one thing that they would know that would give them some point of leverage is the extreme war fatigue within the United States, and really within the Western world. So, by upping the stakes, arguably — I mean, who knows why the hell they’re doing what they’re doing?
But by upping the stakes, they arguably could be sending a signal like, “You want to get in this game? It’s not as if we’re an island and you can just break the deal, penalize us gratuitously, penalize the people who are still trying to maintain the terms of the deal, and that there won’t be collateral consequences outside the nuclear space.”
Because the nuclear consequences, as they begin to enrich and violate the terms of the deal — having legitimately argued that we had violated the terms of the deal — the effects of those are not day-to-day effects in the news world. It’s a bit abstract for the public and even for policymakers. It’s an incremental abrogation.
But acts like this show that they have leverage, that they are active militarily in parts of the world where we have a vested interest in maintaining freedom of navigation. So I think they’re showing that they can hit in domains outside the nuclear domain. I think that is probably what they’re doing.
Here is another segment:
COWEN: In which ways do you feel your thought is in some manner still Irish in orientation in a way that would distinguish you from, say, American-born individuals?
POWER: It’s hard to know because I can’t run the counterfactual, so I don’t know what’s just because my mother is a physician and very empathetic toward her patients, and do I learn from that? Or am I moved by having come from a small country, at that time a poor country, that was sending —
COWEN: With a history of oppression, right?
POWER: With a history of oppression, with a history of the dignity of its people being trampled. Is that why I care so much about individual dignity? Again, I can’t run the history a different way.
COWEN: Very simple — are baseball games too long? Why not make it 7 innings?
POWER: Why not make it 12?
COWEN: It’s boring, right?
POWER: For you and, as it turns out, for others.
COWEN: For me. So many games are over 3 hours. Shouldn’t the game be 2 hours, 17 minutes?
We also cover her first impressions of America, being a wartime correspondent, China and Iraq, Star Wars vs. Star Trek, van Morrison vs. Bob Dylan, robot empires vs. robot umpires, her favorite novel, how personal one should get in a memoir and why, and German defense spending, among other topics.
The theory behind micro‐expressions posits that when people attempt to mask their true emotional state, expressions consistent with their actual state will appear briefly on their face. Thus, while people are generally good at hiding their emotions, some facial muscles are more difficult to control than others and automatic displays of emotion will produce briefly detectable emotional “leakage” or micro‐expressions (Ekman, 1985). When a person does not wish to display his or her true feelings s/he will quickly suppress these expressions. Yet, there will be an extremely short time between the automatic display of the emotion and the conscious attempt to conceal it, resulting in the micro‐expression(s) that can betray a true feeling and according to theory, aid in detecting deception.
…The METT Advanced programme, marketed by the Paul Ekman Group (2011), coined an “online training to increase emotional awareness and detect deception” and promoted with claims that it “… enables you to better spot lies” and “is meant for those whose work requires them to evaluate truthfulness and detect deception—such as police and security personnel” (Paul Ekman Group, METT Advanced‐Online only, para. 2). The idea that micro‐expression recognition improves lie detection has also been put forth in the scientific literature (Ekman, 2009; Ekman & Matsumoto, 2011; Kassin, Redlich, Alceste, & Luke, 2018) and promoted in the wider culture. One example of this is its use as a focal plot device in the crime drama television series Lie to Me, which ran for three seasons (Baum, 2009). Though a fictional show, Lie to Me was promoted as being based on the research of Ekman. Ekman himself had a blog for the show in which he discussed the science of each episode (Ekman, 2010). Micro‐expression recognition training is not only marketed for deception detection but, more problematically, is actually used for this purpose by the United States government. Training in recognising micro‐expressions is part of the behavioural screening programme, known as Screening Passengers by Observation Technique (SPOT) used in airport security (Higginbotham, 2013; Smith, 2011; Weinberger, 2010). The SPOT programme deploys so‐called behaviour detection officers who receive various training in detecting deception from nonverbal behaviour, including training using the METT (the specific content of this programme is classified, Higginbotham, 2013). Evidently, preventing terrorists from entering the country’s borders and airports is an important mission. However, to our knowledge, there is no research on the effectiveness of METT in improving lie detection accuracy or security screening efficacy.
…Our findings do not support the use of METT as a lie detection tool. The METT did not improve accuracy any more than a bogus training protocol or even no training at all. The METT also did not improve accuracy beyond the level associated with guessing. This is problematic to say the least given that training in the recognition of micro‐expressions comprises a large part of a screening system that has become ever more pervasive in our aviation security (Higginbotham, 2013; Weinberger, 2010).
Hat tip the excellent Rolf Degen on twitter.
Now, in a strange turn more than three decades after the meltdown, the exclusion area around Chernobyl is gaining a following as a tourism destination, apparently propelled by the popularity of a TV mini-series about the blast that was broadcast in the United States and Britain last month.
The mini-series, HBO’s “Chernobyl,” fictionalizes the events in the aftermath of the explosion and fire at the plant’s Unit 4 nuclear reactor. It has been one of the highest-rated shows on the IMDB charts.
“The number of visitors increases every day, every week, by 30, 40, now almost 50 percent,” said Victor Korol, the head of SoloEast, a company that gives tours of the site. “People watch TV, and they want to go there and see the place, how it looks.”
Here is the full NYT story by Iliana Magra. Not long ago I predicted, half tongue in cheek, that the Chernobyl show could end up making nuclear power more rather than less popular…
Fleabag 2nd Season even better than 1st. An indelible portrait of toxic femininity. No accident that the brilliant Phoebe Waller-Bridge also wrote Killing-Eve featuring a different female killer but in male style and fantasy form rather than the more mature & realistic Fleabag.
Not everyone understood the tweet and some were confused. How could Fleabag be about toxic femininity when Waller-Bridge is a feminist? Fleabag is misunderstood because people try to frame it in terms of victimhood and Waller-Bridge is having none of that. Her method for illustrating the equality of the sexes is to show that women can be just as evil as men. Fleabag is much darker and more religious and mystical than most people realize.
I have written somewhat elliptically in what follows so as not to give much away but….mild spoiler warning. Herewith some observations.
Killing Eve features the serial killer, Villanelle. In one episode, she kills her lover using perfume. What could be a better metaphor for toxic femininity than that? Although they appear very different, Villanelle and Fleabag have much in common. Both of them, for example, are sociopaths.
Fleabag says as much herself, “I’m a greedy, perverted, selfish, apathetic, cynical, depraved, morally bankrupt woman.” But even more telling is that the other characters tell us that Fleabag is a sociopath. “You know exactly what you are doing,” “You only do what you want,” “You know what you are going to do,” or words to that effect are said many times. To understand Fleabag the show, you need to take these words seriously and backcast them to the events that happened before Season One. Namely, in a fit of sexual jealousy, Fleabag decided that if she can’t have what she wants then no one will. She wills it. It happens.
In doubt? Consider the scene at the funeral of Fleabag’s mother. Is she upset? Distraught? In tears? No, she looks radiant. She is more beautiful, more composed, more at peace on the day of her mother’s funeral than any day before and everyone tells her so. “I have never seen you looks so good,” “You look glorious,” and my favorite, “Gosh, grief really agrees with you.” Her body tells the truth. It is a mistake to wish this away.
In Season One, Fleabag is only just realizing the power that her sociopathy and sexual charisma bestow upon her and at first she is frightened. By S2, however, she is in command and we see her using her intense sexual charisma to bend men to her will. Men worship her and she treats them like objects and playthings. In one case, she literally has her boyfriend on his hands and knees scrubbing the floors. It’s hilarious.
FB is not the only example of toxic femininity in the series. The stepmother is an older version of Fleabag who also uses her sexual charisma to get what she wants. She has Fleabag’s father by the balls and to prove it she hangs them on the wall (I am not making this up). Fleabag cannot defeat the passive-aggressive stepmother because her sexual powers work only over men (notice the Kristen Scott Thomas scene and recall that FB didn’t get what she really wanted pre Season One). The stepmother is in fact a kind of witch who uses words to destroy those around her even though the words themselves are pleasant sounding. The stepmother also fashions a voodoo doll, a statue of Fleabag’s mother–whom she has replaced–that is notably beheaded.
The real plot of Season Two is that Fleabag is bored by how easy it is to control men and so she goes after bigger game. Can she top her pre-Season One triumph? Can she steal a man from God? Priest and witch enter into a battle of wits and wills. The Priest thinks he is going to exorcise her demons. This is a feminist show. He doesn’t.
The priest is a very interesting character. He is specifically introduced as a new priest, i.e. a new church, and he is young and cool and sexy. He is also a complete failure. Is Waller-Bridge, who was schooled by nuns, saying the new church fails or the church in general? Either way, despite being celestially warned, the priest fails God, he fails the Church and, perhaps most of all, he fails Fleabag. To be saved, Fleabag needed to find an incorruptible man, one who truly believes that there are bigger things than sex and dominance and worship of self. Instead, she finds in the church nothing but hypocrisy. In choosing sex over God and devotion to others, the Priest violates a sacred trust just as the pedophile priests violated their sacred trust (and Waller-Bridge makes clear the family resemblance). It does not take much imagination to see that the Priest will soon meet his fate in an alcoholic stupor (many hints are given).
In the final scene Fleabag walks into the sunset contentedly, like a talented Mrs. Ripley. The priest leaves in the opposite direction pursued by a demon symbolizing his failure to guard his flock.
Addendum: By the way, we never learn Fleabag’s name. She is a temptress who kills. Thus, another good name for Fleabag would be Killing Eve.
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.