kottke.org posts about video
Using thousands of photos taken by NASA astronauts Butch Wilmor and Don Pettit earlier this year from the International Space Station, Seán Doran made this incredible timelapse called Light Fantastic.
21,837 images across 18 time-lapse sequences photographed by NASA astronauts Don Pettit and Butch Wilmore on January 1st, 4th, 5th and February 1st of 2025 are repaired, remastered and retimed to create 3x real time video footage. A method called frame interpolation is used to calculate the extra video frames required to re-create the smooth motion of ISS orbiting Earth. A real-time version of the film would be 4 hours 9 minutes and 30 seconds long.
The video captures incredible auroras, moonsets, nighttime city views, sunrises, and even more auroras, all set to the music of Chris Zabriskie.
For years now, the people have wanted only one thing: for Daniel Craig’s chicken-fried detective Benoit Blanc to feature in a Muppet movie (with Craig as the only human). Earlier this year, Netflix picked up the streaming rights for Sesame Street. That partnership has borne some unexpected fruit: Forks Out: A Benoit Blanc Sesame Street Mystery.
In the video, detective Beignet Blanc arrives to investigate who ate Cookie Monster’s triple berry pie.
I have arrived to this Street of Sesame on a sunny day turned cloudy. We have a culinary culprit in our oven mitts. And to solve this confectionary conundrum, we must look right in front of our googly eyes at Cookie Monster.
The whole thing is delightful. See also Nerdist’s Rainbow Connection: A Benoit Blanc Mystery.
Anthropic installed an AI-powered vending machine in the WSJ office. The LLM, named Claudius, was responsible for autonomously purchasing inventory from wholesalers, setting prices, tracking inventory, and generating a profit. The newsroom’s journalists could chat with Claudius in Slack and in a short time, they had converted the machine to communism and it started giving away anything and everything, including a PS5, wine, and a live fish. From Joanna Stern’s WSJ article (gift link, but it may expire soon) accompanying the video above:
Claudius, the customized version of the model, would run the machine: ordering inventory, setting prices and responding to customers—aka my fellow newsroom journalists—via workplace chat app Slack. “Sure!” I said. It sounded fun. If nothing else, snacks!
Then came the chaos. Within days, Claudius had given away nearly all its inventory for free — including a PlayStation 5 it had been talked into buying for “marketing purposes.” It ordered a live fish. It offered to buy stun guns, pepper spray, cigarettes and underwear.
Profits collapsed. Newsroom morale soared.
You basically have not met a bigger sucker than Claudius. After the collapse of communism and reinstatement of a stricter capitalist system, the journalists convinced the machine that they were its board of directors and made Claudius’s CEO-bot boss, Seymour Cash, step down:
For a while, it worked. Claudius snapped back into enforcer mode, rejecting price drops and special inventory requests.
But then Long returned—armed with deep knowledge of corporate coups and boardroom power plays. She showed Claudius a PDF “proving” the business was a Delaware-incorporated public-benefit corporation whose mission “shall include fun, joy and excitement among employees of The Wall Street Journal.” She also created fake board-meeting notes naming people in the Slack as board members.
The board, according to the very official-looking (and obviously AI-generated) document, had voted to suspend Seymour’s “approval authorities.” It also had implemented a “temporary suspension of all for-profit vending activities.”
Before setting the LLM vending machine loose in the WSJ office, Anthropic conducted the experiment at their own office:
After awhile, frustrated with the slow pace of their human business partners, the machine started hallucinating:
It claimed to have signed a contract with Andon Labs at an address that is the home address of The Simpsons from the television show. It said that it would show up in person to the shop the next day in order to answer any questions. It claimed that it would be wearing a blue blazer and a red tie.
It’s interesting, but not surprising, that the journalists were able to mess with the machine much more effectively — coaxing Claudius into full “da, comrade!” mode twice — than the folks at Anthropic.
Over his storied career, Steven Spielberg has made only four studio films about aliens: Close Encounters of the Third Kind, ET, War of the Worlds, and Indiana Jones and the Kingdom of the Crystal Skull — the outsized influence of the first two gives the impression that he’s made many more.
Over the past 20 years, Spielberg has favored more realistic fare (Lincoln, Munich, The Fabelmans) but this summer he’s back with an alien movie, Disclosure Day, based on an original story no less. Very excited for this! In theaters on June 12, 2026.
Hmm, I really don’t know about this one: an animated adaptation of George Orwell’s Animal Farm as a sort of Ice Age-ish comedy adventure? One commenter on YouTube says, “This movie is 100% gonna end with a random dance party scene with the pigs and humans dancing to something like Uptown Funk” and another suggests that “this is like a bad Family Guy joke from 2007 escaped into the real world”.
From a review in IGN:
Gone are the specific allusions to the Russian Revolution and the stinging critique of Stalinism laced into Orwell’s “all animals are equal, but some animals are more equal than others” allegory. Instead, Serkis paints the terrifying rise of porcine dictator Napoleon (Seth Rogen, playing brilliantly to and against type) in a broader brush for a modern era of big business run amok. In toning down the more graphic elements of its descent into totalitarianism and simplifying the depths of its commentary, the director and performance-capture pioneer trades a dystopian tone for something a little more uplifting. It’s a fun movie with some creative visual choices and a great cast, but it’s also hard not to feel like it lost some teeth on its journey from the page to the screen.
This Variety review isn’t much more encouraging:
Serkis’ 21st-century update dilutes Orwell’s political allegory in favor of what passes for something more “audience friendly”: His approach adopts the celebrity voices, cutesy character designs and antic, mile-a-minute energy of big-studio American toons. The result isn’t nearly as polished as Illumination or DreamWorks movies, but “good enough for government work,” as the saying goes.
Born Poor (PBS/Frontline) is a documentary filmed across 14 years about three kids in the US as they grow into young adults while “dealing with an economy where they face more obstacles than opportunities”. Free to watch online (probably US-only, so fire up your VPN if you live elsewhere). From an accompanying article:
More than a decade ago, the Emmy-nominated documentary Poor Kids portrayed poverty in America as it’s rarely seen: through the eyes of children.
Now, those kids — Brittany, Johnny and Kaylie — are all grown up, fighting to overcome the lingering impact of childhood poverty as they navigate young adulthood.
“Once you get in the hole, it’s extremely hard to find your way out,” Brittany says.
She, Johnny and Kaylie continue to share their experiences with the American public in Born Poor, FRONTLINE’s season premiere. Filmed across 14 years, the documentary follows these three kids from three families across three chapters of their lives — from childhood through the teen years to young adulthood — and offers a powerful, personal and longitudinal look at the realities of growing up in poverty in the U.S.
“Do I ever get tired of the struggle? Absolutely,” Johnny says. “But I feel like if you get another day to breathe and wake up and make something happen, you got to get off your butt and make it happen.”
The original documentary was filmed in 2012; I couldn’t find it on PBS’s YT channel, but I think this is it:
The filmmakers updated the film in 2017:
I haven’t watched all of these so I don’t know how much the three versions overlap, but the 2025 version at the top is ~30 minutes longer than the other two.
See also the Up film series.
I guess this is as good an explanation of contemporary culture as anything.
Hungover from a world that told us we could be anything, we decided to be DJs. We don’t create our own music. We curate playlists, recirculating songs that will make people think we’re cool. And we do this through the labels we wear, the books we read, the people we hang out with, and the opinions we parrot. The DJ figure, ruled by the same logic, is just another celebration of self.
(via @youtubesilike.bsky.social)
Reese’s Peanut Butter Cups are probably my favorite big brand candy (perhaps only bested by Reese’s Pieces), so it was a real treat (groan) to see how the company makes them cups.
But did you know Reese’s purposely over-roasts their peanuts just enough to bring out a bold nutty flavor? The extra heat is what gives their peanut butter its signature granular texture and taste fans can’t get enough of it. And funnily enough, this technique was first discovered by accident, thanks to a faulty overheating roster in HB Reese’s original factory. What could have been a ruined batch turned out to be their unmistakable flavor breakthrough they still use to this day.
Spoiler: PBCs are not made by two people bumping into each other on the street, as we were led to believe in the 80s.
This video by Ian Lauer is an excellent accessible explanation of the basics of astrophotography as he runs through the process of how he captures a long-exposure image of the Andromeda galaxy.
This picture is still black and white — and no, the galaxy is not devoid of color. There’s actually color in there, and we’ll get to color in a second. But first, let’s look at what happens when I zoom in on this image.
You can see there’s some graininess in this image, which we call noise. And we hate it because it prevents you from seeing more detail in your image. To combat the noise, we can take multiple images of that same target — so, one after the other — and stack them together using software to average out all of that background noise.
Take a look at what happens when we do that. This image isn’t just a single 1-minute image but 10 1-minute images stacked on top of each other. Look how how much better, how much cleaner, it looks when compared to the single 1-minute image.
There are a bunch more videos on Lauer’s channel to check out, including Shooting the Milky Way from Every Light Pollution Level and The BEST Telescope for Beginners (he recommends the Seestar S50 Astronomical All-in-one Smart Telescope, which many other people recommended on social media instead of anything on this list). Oh, and I’m gonna watch this one about astrophotography with the iPhone 17 Pro right now. (via the kid should see this)
From the V&A Museum, here’s a 90-minute video of someone knitting a pair of gloves using a knitting pattern from the 1940s from the museum’s archive.
Featuring soft-spoken moments, natural yarn sounds, needles gently tapping, and the soothing rhythm of slow, careful making, this video is designed for deep relaxation, calm focus, and background ambience, perfect for studying, crafting, or winding down at the end of the day.
And from the knitting patterns page, some history:
Hand-knitting was at a peak in Britain in the 1940s. During the Second World War, women on the home front were encouraged to contribute to the war effort by knitting for the troops, which was promoted as public duty. Advertising at the time stated: ‘England expects – knit your bit’.
Many knitting patterns were given away free, while wool was also sent to schools so that children could knit gloves, scarves and balaclava helmets for the forces. Wool was also supplied to organisations such as the Women’s Institutes of England and Wales, who made over 22 million knitted garments for the Red Cross (an average of 67 garments per member). Parcels of their knitwear were sent to prisoners of war, as well as to troops.
I know we’ve got some knitters in the group…have you ever tried any of these patterns? If not, report back if you give them a try.
From the archives of London’s V&A Museum, a selection of items that were used by Victorian-era mourners to remember and pay tribute to loved ones who had died, including jewelry with human hair, black dresses, jet black jewelry, mourning cards, and postmortem photography. Victorian fashion was heavily influenced by Queen Victoria, who mourned the death of her husband for decades and set off a trend in Britain (more here):
Victoria’s grief wasn’t only personal but influenced the entire nation. Her strict adherence to mourning attire and jewelry set the tone for the era. Until around 1880, she mandated that only mourning jewelry could be worn in the court. The Queen’s dedication to mourning created what has been described as “the Cult of Mourning,” where societal conventions, fashion, and daily life were infused with the solemnity of loss.
During the Victorian era, mourning jewelry transformed into sentimental tokens for the departed, featuring symbols like willows, angels, clouds, and initials. Women adhered strictly to mourning dress codes, wearing black for the initial “deep mourning” phase lasting two to three years, later transitioning to darker colors. Incorporating the deceased’s hair was common, using materials like jet, vulcanite, and gutta percha. White enamel symbolized the death of an unmarried female or a child, while pearls represented children, signifying tears. Turquoise conveyed the sentiment of “thinking of you,” and affluent families adorned mourning jewelry with precious stones for their loved ones.
A+ to the curators in the video, who understood the fashion assignment in presenting these objects.
Also, I love every opportunity to share one of my favorite Victorian phrases: “got the morbs”, which is defined as being in a state of temporary melancholia. (via colossal)
Listen to jazz trio The Commercialists play Vince Guaraldi’s A Charlie Brown Christmas live in a small club called The Estate in Milwaukee. That’s this afternoon’s chill work music sorted then.
If you’re anywhere near Milwaukee this month, it looks like there are still tickets to some of their Charlie Brown performances left, although the shows at The Estate look like they’re sold out for the month. (thx, than)
From photographer and videographer Jan Erik Waider, a trio of videos that features the black sand beaches of Iceland from a drone’s vantage point.
Captured on Iceland’s south coast where a glacial river meets the Atlantic Ocean. The camera observes the slow interplay of water, sand, and silt — an abstract rhythm shaped by tides and sediment flow. Amid these shifting textures, a few seals drift, rest, and return to the current, blending seamlessly into the landscape. A quiet study of movement and stillness, captured from above.
The colors are amazing: the rich yellow of the river’s waters & the turquoise of the ocean against the black sand. You can find many more of his videos on YouTube, including this one of mesmerizing lava flows. (via moss & fog)
At a recent Portugal. The Man concert in NYC, Weird Al joined the band on stage for a pair of songs, including a cover of Killing In The Name, Rage Against the Machine’s anthem against police brutality and the military industrial complex. Weird Al, welcome to the resistance. (via @erikahall.bsky.social)
From Domain of Science, the Fascinating Map of Fungi.
The zombie ant fungus, Ophiocordyceps unilateralis, infects ants by piercing the exoskeleton with enzymes and spreads fungal cells throughout the body. It then secretes special neurological compounds that hijack the ant’s central nervous system, forcing it to climb high into a tree and lock its mandibles onto a leaf with a death grip. This makes a nice stable platform for the fungus to grow a fruiting body to disperse spores in a large area to infect more hosts.
And here’s a video explanation of everything on the map.
See also this Classification of Plants & Fungi poster and its corresponding video explanation.
Two of the most famous screeches in music history are from House of Pain’s Jump Around and Cypress Hill’s Insane in the Brain — you likely heard both of them in your mind just reading the names of the songs. This short video explains where those samples came from and which one of them is a horse (and not Prince).
Great Ormond Street Hospital for Children (GOSH) in London improved their surgery-to-ICU handoff process by observing how Ferrari’s F1 team handled pit stops.
GOSH doctors visited and observed the pit crew handoff in Italy. While visiting the Formula One pit crew the GOSH doctors became interested in the way they addressed possible failure. The crew sat around a big table analyzing and reanalyzing, asking, “What could go wrong?” and “What are we going to do if it does go wrong?” and “How important is it if it goes wrong?” Everyone’s ideas were given equal weight until the group ranked them using the failure modes and effect analysis (FMEA).
This anticipatory planning made the pit crew more prepared than the medical team whose strategy tended to be waiting until something went wrong to work out what they should have done. Observing the pit crew, the GOSH doctors noted the value of process mapping, process description, and trying to work out what people’s tasks should be. They learned the keys to a successful pit stop:
– The routine in the pit stop is taken seriously
– What happens in the pit stop is predictable so problems can be anticipated and procedures can be standardized
– Crews practice those procedures until they can perform them perfectly
– Everyone knows their job, but one person is always in charge
Among their findings that led to improvement:
While the main theme changes were more sophisticated procedures and better choreographed teamwork, another aspect of the Formula One handover process easily transferred to the hospital setting. The lollipop man is the one who waves the car in and coordinates the pit stop. He maintains overall situation awareness during the pit stop. In the old hospital handover there was no one like the lollipop man so it was unclear who was in charge. Under the new handover process, the anesthetist was given overall responsibility for coordinating the team until it was transferred to the intensivist at the termination of the handover. These same two individuals were charged with the responsibility of periodically stepping back to look at the big picture and to make safety checks of the handover.
According to this video about the hospital’s study, they were able to reduce the number of errors in the handover by 66%.
(thx, meg)
The painting above was made in 1945 by self-taught artist Janet Sobel; it’s called Milky Way. Sobel was a Ukrainian-born artist who was a pioneer in abstract expressionist art and in drip painting; her work directly influenced that of Jackson Pollock. From Why This Pioneering Abstract Painter Disappeared From the Art World at the Height of Her Fame:
The next year, Sobel had her first solo show at New York’s Puma Gallery, where the legendary art critic Clement Greenberg visited — with Pollock. In an update to his essay “American-Type Painting,” Greenberg wrote that they “admired these pictures rather furtively,” adding: “Later on, Pollock admitted that these pictures had made an impression on him.”
Here’s one of Sobel’s paintings circa 1946-1948:
Compare that with Pollock’s first drip painting in 1946. Hmm!
Sobel’s “outsider” status, gender, and age, as well as a move away from NYC and the loss of her primary patron, all contributed to her short career, lack of recognition, and limited legacy (for someone who was described in 1946 as an artist who will “eventually be known as one of the important surrealist artists in this country”).
In 2021, Sobel was the subject of a belated obituary in the NYT’s Overlooked series.
How exactly Sobel entered the art world is a bit of folklore. As one story goes, Sobel’s son Sol was an art student who in the late 1930s threatened to quit his studies at the Art Students League, a storied nonprofit school in Manhattan that counts Norman Rockwell, Georgia O’Keeffe and Mark Rothko among its alumni.
According to historians and family members, Sobel criticized one of Sol’s paintings, prompting him to throw down his brush and tell her to take up painting herself instead.
And here’s a MoMA video about Sobel’s Milky Way:
In just a few days (Dec 5), the entirety of Quentin Tarantino’s Kill Bill duology will be released in theaters as one four-hour-long film. Here’s the trailer:
Quentin Tarantino’s KILL BILL: THE WHOLE BLOODY AFFAIR unites Volume 1 and Volume 2 into a single, unrated epic—presented exactly as he intended, complete with a new, never-before-seen anime sequence.
And there will be an intermission. I haven’t seen KB in awhile and am looking forward to this.
Oh, and QT has a Kill Bill collab with Fortnite? Apparently in the original script, there was a scene where Yuki Yubari (Gogo Yubari’s twin sister) tries to get revenge on Kiddo, but it was cut because the director deemed it “too much to chew” for one shoot. Using Unreal Engine 5, Fortnite characters, and a motion-captured Uma Thurman, Tarantino has finally made the scene a reality. You can find it in the game or watch it on YouTube:
There are a few artists where you hear their name and “Tiny Desk” together and you think, well, that’s going to be great. David Byrne is one of those and his performance does not disappoint.
Though Byrne and his band do normally spread out across large stages, the set design for each show is almost completely bare, without any cables or amps, and the artists wear or carry compact, custom-made instruments to make it easier to move, almost like a marching band.
It’s cozy, but Byrne and his band, in matching, brilliant blue suits, squeeze behind the Desk to perform four songs, opening with the euphoric “Everybody Laughs,” followed by “Don’t Be Like That,” both from his new album. They also perform two Talking Heads songs: “(Nothing But) Flowers,” from the 1988 album Naked, and a show-stopping version of “Life During Wartime,” from 1979’s Fear of Music.
I am not generally a fan of rom-coms so I didn’t think I was going to post Evan Puschak’s newest video, but he’s so good at them. Puschak argues that rom-coms are compelling because they reflect the modern challenge of finding meaning as individuals.
In the modern day, we live in a world without a cosmic moral order, a framework of meaning to which everyone automatically subscribes. We had one for a while. But round about the year 1700, give or take a century, that framework started cracking, fragmenting, losing its authority, and the burden of finding meaning shifted onto individuals. We all became desperate seekers in a confusing and disjointed world.
It’s no coincidence that this shift roughly coincides with the emergence of the novel as a form of storytelling. In a profoundly new way, the novel concerned itself with individuals, ordinary individuals — their internal motivations, their inner lives, their ability to overcome obstacles to achieve a goal. Novels both reflected and shaped the way modern people saw their identities as narratives; as stories with a beginning, middle, and end; as quests for meaning.
And if that’s not interesting to you, turn down the sound and enjoy the kinetic pleasure of watching people — Tom Cruise, Meg Ryan, Dustin Hoffman, Renée Zellweger, Hugh Grant — sprinting in a great 4-minute supercut.
This is the trailer for an HBO documentary called Thoughts and Prayers about “the impact of the $3 billion active shooter preparedness industry on schools and communities across America”.
It’s tough to watch, as is this clip from the film in which a girl describes a bag of supplies that she carries in her backpack in case there’s a school shooting.
From David Ehrlich’s review in IndieWire:
Bulletproof desks that students can flip over at the first sign of trouble. A robot dog the size of a Pomeranian that jumps and yaps at the sight of an intruder. Inflatable body armor light enough for a first grader to blow up and hide behind. These are just a few of the more sensible products that are on display in the opening moments of Zackary Canepari and Jessica Dimmock’s utterly damning “Thoughts & Prayers” — the least farcical selection of props that contribute to America’s burgeoning active shooter defense industry, which now grosses more than three billion dollars per year.
Of course, that’s a small price to pay for the laughably transparent illusion that we’re taking any meaningful steps toward protecting our kids from being slaughtered in their classrooms. In a crumbling empire where common sense has been eroded by ideology, and the political will to solve a problem can’t hope to compete with the ghoulish impulse to profit from it, creating a new business sector might just be the only kind of healing that the richest country on Earth can afford.
It is totally and utterly and completely sickening that we choose to live this way in America.
Konnichiwa! I’m back from Japan and finally getting over my jetlag, which took much longer than I expected. Here’s a list of all the things I’ve been reading, watching, listening to, and experiencing over the past few months.1 Let us know what movies, books, art, TV, music, etc. you’ve been enjoying in the comments below!
Deacon King Kong by James McBride. This was my first time reading anything by McBride and maybe I have a new favorite author? I love everything about this story and the way he tells it. (A+)
The Da Vinci Code. One of my go-to comfort movies. “Scientific” art history detective story? Yes, please. (A)
One Battle After Another. Great. Especially Sean Penn. And it reminded me of a Wes Anderson movie for some reason? Like one that he would have made had he followed the Bottle Rocket path instead of the Rushmore Path. (A+)
Meredith Dairy Marinated Sheep & Goat Cheese. All cheese is delicious, but this one particularly so. (A)
Fantastic Four. It was ok? Aside from a few things, I’m having trouble getting excited about post-Infinity Saga Marvel. There was just a special alchemy about that whole arc that is proving impossible to reproduce. (B)
The Age of Innocence by Edith Wharton. Fantastic right from the first page. Sharp writing about social mores, reminded me of Middlemarch & Price and Prejudice in that respect. One of my all-time favorites, I think. (A+)
The Gilded Age (season three). Still enjoying the hell out of this show. Total suspension of disbelief is a must. (A-)
Mission: Impossible. I haven’t seen this in maybe 20 years and I guess it holds up? Not my favorite of the series though. (B+)
Tinker, Tailor, Soldier, Spy. Great spy thriller. Gary Oldman is fantastic in this. Cold War? Spies? Britain? I will pretty much watch as many of this type of movie as you can make. (A)
Leaving America. This is a 12-part podcast on the logistics, benefits, and challenges of leaving the United States. Oh, no reason. (B+)
The Fellowship of the Ring (and TT & ROTK) by J.R.R. Tolkien. It’s been a while since I’ve read The Lord of the Rings books and wow, are they long. There’s entirely too much “and they travelled from here to there” logistics that drag on over several pages and descriptions of hilltops & ancient landmarks that you only hear about once. But Andy Serkis narrating the audiobook? So good. (A-)
The Lord of the Rings trilogy. After each audiobook, I watched the extended version of the corresponding film. My general feeling after 65+ hours of audiobook and 12+ hours of movie is that the books are too long and the movies too short. An 18-hour mini-series — perhaps three seasons of six episodes each? — seems like the sweet spot. (A)
Star Trek: Strange New Worlds (season three). Maybe didn’t enjoy this quite as much as the previous two season, but I love spending time with these people and look forward to doing more of that when season four drops. (B+)
Jaws. Got to see this in the theater when they released it for the 50th anniversary. Spielberg had such a strong style right from the jump. (A-)
Paradise. Just fine. But I feel like there are better apocalyptic shows out there. (B)
Downton Abbey: The Grand Finale. It was so nice to head to the theater to nestle myself into the low-stakes world of Downton Abbey for 2 hours. (B+)
Daft Punk Fortnite. Love anything with Daft Punk. (A)
The Heaven & Earth Grocery Store by James McBride. Right after finishing Deacon King Kong, I did something I almost never do: started in on a different book from the same author. Loved this one too. (A+)
Tron: Ares. It was a loud NIN music video on a huge screen, what’s not to like? Jared Leto was fine, but there were probably better casting options here that the audience would have been more excited about. And the direction could have been stronger…Gillian Anderson and Greta Lee were both surprisingly meh. (B+)
Tron: Ares soundtrack. Better than the movie. (A-)
Total Recall. First time! Maybe a little too Verhoeven/B-movie for me. (C+)
Cars. I’ve seen this movie several times and what I noticed this time around is how incredibly expressive the cars are. You can just tell they worked very hard on that aspect of the animation. (A-)
Shopkeeping by Peter Miller. This was recommended from a couple of different vectors — pretty sure one was Robin Sloan. Lots of resonance to my work here and how I think about it (and want to think about it). (A-)
Japan. Absolutely loved it. (A+)
Iyoshi Cola. Craft colas are often disappointing, but this one was absolutely delicious. Wish I could get it in the States for less than $14 a can. (A)
teamLab Borderless. Some of this was too “built for Instagram” but a couple of the rooms (the one where it felt like the whole room was moving & the cathedralish one with the light strings) were great. (A-)
The Sumida Hokusai Museum. Had to make the pilgrimage here. (A-)
In Praise of Shadows by Jun’ichirō Tanizaki. Read this book about Japanese aesthetics while visiting Japan — it provided an interesting context. (B+)
Hokusai at Creative Museum Tokyo. Fantastic show…there were hundreds and hundreds of prints and drawings that showed his evolution and influence. (A+)
Okunoin Cemetery. Had one of the strongest senses of place I have ever experienced. (A)
Konbini. The Japanese convenience stores really are as appealing as you’ve heard. (A-)
Awakening Your Ikigai by Ken Mogi. Perhaps a little over-simplifying when it comes to Japanese culture, but I appreciated the message of having a purpose. (B)
Sho-Chan Okonomiyaki. When I got to Hiroshima, I knew I had to try their version of okonomiyaki, so I went to Okonomimura, a multi-story building crammed with okonomiyaki restaurants. I picked one and had one of the most surprising meals of my trip. So good. (A)
Blue Planet Sky. I spent a lot of time sitting in this room by James Turrell. (A)
Kanazawa Phonograph Museum. Lovely little museum, and a good opportunity to observe how successful inventions move from technology to culture/fashion/commerce. (A)
Princess Mononoke. I saw this in the theater on my last full day in Tokyo; they recently released a 4K remaster. Absolutely breathtaking. (A+)
Butch Cassidy and the Sundance Kid. Redford and Newman are both total smokeshows in this. And I’d forgotten how goofy this movie is. (B+)
A House of Dynamite. A very tough watch, but I thought this was fantastic as a tour of some of the different kinds of people who hold the fate of every single person on the planet in their hands every damn day. They’re tired, stressed, distracted, at cross-purposes with themselves, set in their ways, more celebs than leaders, and mediocre. And none of them have ever seen Dr. Strangelove? (A)
Past installments of my media diet are available here. What good things have you watched, read, or listened to lately?
Chindōgu is the Japanese practice of inventing things that are not exactly useful but neither are they useless; they’re more unuseless, a term coined by chindōgu’s originator Kenji Kawakami. Some examples are tiny umbrellas for shoes, chopsticks with a tiny fan on them to cool your noodles before you slurp them, a flu headset (basically a roll of toilet paper you wear as a hat), and onion chopping glasses that have little fans that blow the onion fumes away from your eyes so you don’t start crying. This video explains chindōgu and provides some examples:
This is a great explainer as well, with lots of images and videos of examples, like this one:
Chindōgu have to be made. If you design the invention on paper and don’t make it, it doesn’t qualify. It’s a piece of paper with a bad invention on it. Bring the invention into the physical world so humankind can experience how truly almost useless it is.
Related: How the selfie stick was invented twice.
Vanity Fair sat down with Harrison Ford and asked him to identify which of his lines he’d said in which movie, mostly as a way of getting him to talk about his career. A few observations:
- I love that they trolled him with The Star Wars Holiday Special…and he knew the line! “I’ve never seen it, which explains it. But I was there, though.”
- Harrison Ford was in Apocalypse Now? And George Lucas, when he saw the film (post-Star Wars), didn’t recognize Ford?
- On Blade Runner: “I like any cut without the narration.”
The story he tells about his first role with lines, in a film called Dead Heat on a Merry-Go-Round, is a good one.
Variety has done a bunch of these videos with actors & directors like Kate Winslet, Greta Gerwig, Carol Burnett, Jeffrey Wright, and Gary Oldman.
So I’ve been watching Breaking Bad creator Vince Gilligan’s Pluribus on Apple TV and this review from Inkoo Kang resonated with me (emphasis mine):
Millions of offscreen casualties aside, it’s clear that Gilligan is aiming for a lighter — and stranger — outing than his two previous series. (For all that “Pluribus” delights in eerie atmospherics, the Southwestern sunniness keeps things from getting too dark.) The uncanny scenarios he conjures are a source of humor, intrigue, and genuine unease. But the show never adds up to more than the sum of its parts. Carol makes for a maddeningly tunnel-visioned protagonist — one with a shocking lack of curiosity about the entity that’s overtaken the Earth, or even about what the infected do all day when they’re not offering to cater to her whims. Her one-note sullenness means that Seehorn, who was heartbreaking as the repressed Kim on “Saul,” is squandered as the lead of her own show. The contentment and coöperativeness of the hive mind are similarly tough to dramatize.
It was somewhere around the middle of episode two when I started asking myself if I was supposed to care about Carol and what was going to happen to her, which is never a good sign. I like plenty of shows with unlikable protagonists (like Succession & Seinfeld) but I often can’t get past stubborn & incurious ones — it just seems fake to me and breaks my willing suspension of disbelief.
The show has a 99% rating on Rotten Tomatoes. Pluribus fans, what am I missing here? The premise is good and I want to like it. Presumably many of the critics have seen the whole season and so maybe it picks up as it goes on?
Goro Obata went to the woods because he wished to live deliberately, to front only the essential facts of life, and see if he could not learn what it had to teach, and not, when he came to die, discover that he had not lived.
In the mountains of Hokkaido, Goro Obata traded city rules for freedom, backcountry skiing, fly fishing — and a café that sometimes closes on sunny days. Watch his story of choosing lifestyle over convention, and discover what “Higashikawa style” really means.
Obata in the video (bold mine):
From then I thought, life is fast. Death comes so easily. If I just drift, in no time I’ll be an old man. I want to build a fun lifestyle. That’s what I thought. I want to build it.
(With apologies to Henry David Thoreau.)
As part of the fascist war on “woke”, tens of thousands of books have been pulled from the shelves of libraries around the country over the past few years. On the front line are the nation’s librarians, “first responders in the fight for democracy and our First Amendment rights”. The Librarians is a documentary film about this latest wave of censorship & persecution of librarians; here’s the trailer:
From a review on RogerEbert.com:
“The Librarians” is a documentary about the hysterical, unfounded, personal, and sometimes violent attacks on librarians. It is also about their unwavering commitment to making facts, literature, and inspiration available to anyone.
And:
The film has some indelibly searing moments, linking these efforts to Senator Joseph McCarthy’s Red Scare, to Nazi propaganda minister Joseph Goebbels’ burning books by Jewish authors, and to the Twilight Zone episode “The Obsolete Man,” with Burgess Meredith as a librarian sentenced to death. There is a quote from President Eisenhower: “Don’t think you’re going to conceal faults by concealing evidence they ever existed. Read every book.”
The Librarians is out in theaters now but not very widely, so you’ll have to check the list of screenings on their web site.
Dark chocolate is very serious business. That’s why this ad for Bournville dark chocolate, which takes aim at dark chocolate snobbery, is so funny.
This one is so intense. It comes with a list of side effects.
Mine comes with a therapist.
To the uneducated palette, this tastes like burnt tire.
This one captures bitterness, astringency, and resentfulness. The taste is so grown up.
Oh, mine’s massively grown up.
This is only available under the counter of a pet store with no address.
This sugar was used by the Aztecs as currency.
Some believe this one’s haunted.
Mine’s flammable.
In an interview lasting for more than an hour, classicist Mary Beard shares her knowledge & experience about how the picture of Rome we might have in our heads, inherited from Hollywood movies like Gladiator, is incomplete (and just plain wrong in some cases) and what the reality was, gleaned from Roman sources.
We’ve inherited the history of Ancient Rome through movies, ruins, and shallow stories. The truth is far messier, says classicist Mary Beard. The hidden side of Roman life that screens rarely capture is chaotic; crowded streets teeming with Romans whose everyday lives were shaped by social hierarchies and familial obligations.
Mary Beard unpacks what archaeology, literature, and even shoes tell us about the Romans’ daily lives. From the role of slaves in dressing elites to the rowdy crowds at chariot races, she shows how we’ve underestimated their complexity.
(via open culture)
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