On what happens if we leave the TV on Fox Sports Southwest after the basketball game:
Jamie: See... I don't even know why you'd watch wrestling.
Me: That's not wrestling.
Jamie: It's two guys rolling around on the ground holding each other. What is it...? Hugging?
Me: That's Mixed Martial Arts.
Jamie: Its two grown dudes hugging.
Me: I don't even know if that's Mixed Martial Arts. Its "Ultimate Fighting." Its for guys who were good at exactly one thing in high school and it wasn't math.
Jamie: Hugging?
and scene.
Film. Comics. Sci-Fi. Superheroes. Pulp. Noir. History. Superman. 20th Century Archaeology.
Wednesday, January 18, 2012
Lack of posting is like a SOPA Blackout Sympathy thing
So it seems we are going for a bit of a blackout to draw attention to the SOPA Bill. If you don't know what this is about, Google it, check it out on Wikipedia, or read up on it at BoingBoing.
In Blackest Night, people.
You're on your own til Thursday. Contact your representatives.
In Blackest Night, people.
You're on your own til Thursday. Contact your representatives.
Tuesday, January 17, 2012
Monday, January 16, 2012
Signal Watch Reads: Feynman
A few months ago Jim Ottaviani visited Austin during the promotional tour of his graphic novel, Feynman, a biographical sketch of famed physicist Richard Feynman. It turns out that Jim's day job is in the field of digital libraries, and he had a sort of informal chat at the library, where it turned out he knew two of my colleagues from graduate school.
Its a small world, but I wouldn't want to paint it.*
A few things:
1) I struggled mightily in high school physics and stuck with geology as much as possible in college when asked to to take science (rocks!). My investigations into modern physics (stuff they were not teaching at my high school) have been mostly catch-as-catch can through television specials, reading articles online and this, my third comic book on physics in any way, shape or form. I know some basic principles, I know some names, I understand that light behaves like a wave and a particle, and aside from that, I sort of stop and start with what everyone who has ever owned more than one Pink Floyd album knows about Schroedinger's Cat. And, as I understand it, what we consider the point of the experiment is incorrect.
2) I don't pretend like I had ever heard of Richard Feynman before this book hit the shelves. The pop-culture aspect of science also eludes me, and so I had not read any of Mr. Feynman's books or sat about urbanely quoting the man over coffee served in a small and delicate cup.
3) I have a hard time remembering the basic fundamentals of physics. Every time I return to the material, that part of my brain re-engages, and neurons re-fire, but its not something I think about very often. Its sort of how I wrote down what the Higgs-Boson is just so I had a place to go look it up every time I needed to know while reading an article on the LHC.
My hat if off to Jim Ottaviani for his handling and structure of a book that could have been an horrendous mess. The book is really 85% biography, 15% physics lesson in order to explain why Feynman matters to Sally Q. Reader. As he states in the afterword, I had no doubt that Ottaviani had done his research enough to both understand and not judge the man particularly one way or another, and to internalize what Feynman was on about enough to share it with an audience as clueless about physics as myself.
Movie Watch 2012: Annie Get Your Gun
As biography, the splashy Irving Berlin musical Annie Get Your Gun is, charitably, less than accurate. But that's not really the point of Annie Get Your Gun, so if that's what you were looking for, you may want to move on.
To be honest, I thought I'd seen this movie as a kid, but I now believe what I was watching was Calamity Jane featuring Doris Day, so that's going to be somewhere in my queue.
The movie is a bright, colorful MGM spectacular from 1950. Annie is played by Betty Hutton, in her defining role as the Buffalo Bill's Wild West Show sharpshooter of legendary skill. Howard Keel, in an early part, plays Frank Butler (he'd show up a few years later in Calamity Jane as Buffalo Bill, just to add confusion), a fellow sharpshooter and the man of Annie's dreams. The performances are hokey and broad, but this isn't exactly A Streetcar Named Desire, so much as a sweet story in service of big show tunes. The "Get Your Gun" of the title is, of course, not literal, and drives the feather-light story.
To be honest, I thought I'd seen this movie as a kid, but I now believe what I was watching was Calamity Jane featuring Doris Day, so that's going to be somewhere in my queue.
The movie is a bright, colorful MGM spectacular from 1950. Annie is played by Betty Hutton, in her defining role as the Buffalo Bill's Wild West Show sharpshooter of legendary skill. Howard Keel, in an early part, plays Frank Butler (he'd show up a few years later in Calamity Jane as Buffalo Bill, just to add confusion), a fellow sharpshooter and the man of Annie's dreams. The performances are hokey and broad, but this isn't exactly A Streetcar Named Desire, so much as a sweet story in service of big show tunes. The "Get Your Gun" of the title is, of course, not literal, and drives the feather-light story.
Sunday, January 15, 2012
This is one of my favorite stories from 2011 (which aired originally in 2007)
I am a regular listener of This American Life and I also pitch them a few bucks every once in a while. They're public radio. Its how it works these days.
Last year I heard this story, and I just realized I'd never linked to it, and I'd never shared it, but its one of best stories I enjoyed last year in any medium. It has everything, and its not all that long.
What blew my mind was that I was just on the This American Life site and noticed they're selling t-shirts (which will not fit me, and tell me the entire audience for TAL is comprised of the spindly little nebbishes and hipsters in tight t-shirts I always supposed comprised the listening audience).
So, listen to the story, and then go buy the shirt. Do not reverse the order of these steps or it will ruin everything.
Last year I heard this story, and I just realized I'd never linked to it, and I'd never shared it, but its one of best stories I enjoyed last year in any medium. It has everything, and its not all that long.
What blew my mind was that I was just on the This American Life site and noticed they're selling t-shirts (which will not fit me, and tell me the entire audience for TAL is comprised of the spindly little nebbishes and hipsters in tight t-shirts I always supposed comprised the listening audience).
So, listen to the story, and then go buy the shirt. Do not reverse the order of these steps or it will ruin everything.
Movie Watch 2012: Comanche Station
PaulT and I journeyed to The Alamo Drafthouse on 6th street for the occasionally-occurring* Alamo Cinema Club. Both Paul I really dig this experience. Its a bit like the better bits of film school, but with no quiz.
Tonight's screening was Comanche Station featuring Randolph Scott and directed by Budd Boetticher.
As was much discussed post-screening, Comanche Station feels very much like the transition between old school westerns and the coming Spaghetti Western or grittier Western ushered in by the likes of Sam Peckinpah. While somewhat coded, the movie suggests some of the harsher realities of the frontier, and partially due to the era portrayed and material its working with, doesn't fit neatly into modern molds of dealing with how the west was settled.
Mostly, its a story about a frontiersman who barters a trade for an anglo woman captured by Comanches. At a closed trading post, they meet up with a sly character from Cody's past who can ride along with them to provide protection, but who is also a threat to both Cody and the woman he's transporting back to her home.
In many ways, its a movie about assumptions versus reality with the characters. And it works. The narrative is clockwork tight, the cast small and the feeling of distrust among the members of the party is poisonous.
Anyhow, a lot was said about the work of Budd Boetticher, an independent producer operating just outside the studio system, and I'm curious to see his other westerns (all featuring Randolph Scott).
*its like movie geek Brigadoon
Tonight's screening was Comanche Station featuring Randolph Scott and directed by Budd Boetticher.
As was much discussed post-screening, Comanche Station feels very much like the transition between old school westerns and the coming Spaghetti Western or grittier Western ushered in by the likes of Sam Peckinpah. While somewhat coded, the movie suggests some of the harsher realities of the frontier, and partially due to the era portrayed and material its working with, doesn't fit neatly into modern molds of dealing with how the west was settled.
Mostly, its a story about a frontiersman who barters a trade for an anglo woman captured by Comanches. At a closed trading post, they meet up with a sly character from Cody's past who can ride along with them to provide protection, but who is also a threat to both Cody and the woman he's transporting back to her home.
In many ways, its a movie about assumptions versus reality with the characters. And it works. The narrative is clockwork tight, the cast small and the feeling of distrust among the members of the party is poisonous.
Anyhow, a lot was said about the work of Budd Boetticher, an independent producer operating just outside the studio system, and I'm curious to see his other westerns (all featuring Randolph Scott).
*its like movie geek Brigadoon
Saturday, January 14, 2012
DC lurches and flails around a bit with cancellations and new books
I waited a few days before posting because... eh, who cares?
Anyhoo... to nobody's surprise, DC's New 52 is going to remain DC's 52 as they cancel 6 titles and bring in 6 new titles. Its actually not a terrible plan from a business perspective, I'd guess. It sounds like they had the next 6 titles ready to go, and they're employing the Jack Welch-approved cull the bottom 10% rule to their own titles.
They're losing:
I'm not overly surprised by the loss of any of these titles. Aside from OMAC, the other 4 of these I read were a mess from issue 1, and as much as I wanted to support Sterling Gates after his work on Supergirl, I hadn't grown to like this iteration of Hawk and Dove, and Liefeld's art is not my cup of tea.
Its unfortunate to see Static fail once again, when the potential for the character to be DC's Spider-Man seems so high. And as much as I have liked Mr. Terrific in theory, Wallace's take in issue 1 felt so generic and disposable, I abandoned the series immediately rather than deal with hoping that it might improve.
Blackhawks was trying to be like the current GI Joe, which is already a successful franchise elsewhere, so I couldn't figure out why they bothered to try to simply echo an established and beloved property you can already buy, and Men of War seemed simply ill-conceived. Its a war book or its not.
OMAC I've kind of enjoyed, but I don't really care that its vanishing. Its like when that show you catch occasionally disappears and its only months later that you realize its gone. I can certainly live without it.
As replacements, we're getting:
Anyhoo... to nobody's surprise, DC's New 52 is going to remain DC's 52 as they cancel 6 titles and bring in 6 new titles. Its actually not a terrible plan from a business perspective, I'd guess. It sounds like they had the next 6 titles ready to go, and they're employing the Jack Welch-approved cull the bottom 10% rule to their own titles.
They're losing:
- Static Shock
- Mr. Terrific
- Men of War
- Black Hawks
- Hawk and Dove
- OMAC
I'm not overly surprised by the loss of any of these titles. Aside from OMAC, the other 4 of these I read were a mess from issue 1, and as much as I wanted to support Sterling Gates after his work on Supergirl, I hadn't grown to like this iteration of Hawk and Dove, and Liefeld's art is not my cup of tea.
Its unfortunate to see Static fail once again, when the potential for the character to be DC's Spider-Man seems so high. And as much as I have liked Mr. Terrific in theory, Wallace's take in issue 1 felt so generic and disposable, I abandoned the series immediately rather than deal with hoping that it might improve.
Blackhawks was trying to be like the current GI Joe, which is already a successful franchise elsewhere, so I couldn't figure out why they bothered to try to simply echo an established and beloved property you can already buy, and Men of War seemed simply ill-conceived. Its a war book or its not.
OMAC I've kind of enjoyed, but I don't really care that its vanishing. Its like when that show you catch occasionally disappears and its only months later that you realize its gone. I can certainly live without it.
As replacements, we're getting:
Friday, January 13, 2012
End of the Week
Ms. Grahame and I hope you have a swell Friday.
Just, you know, no trouble, if you don't mind.
Just, you know, no trouble, if you don't mind.
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