(dear) jesus indeed . . .
Category Archives: Brian
it’s not just me who’s into the young and the restless, but most everyone over at killerbuds.net. in fact, my brother started his own y and r themed blog: restless style
“it’s exhausting . . . but that’s what you get for living in a fairy tale.”
the music at the beginning of this episode is amazing. dark partial objects, thunder.
sharon (whispered): i shot him. i shot him. oh god, what have i done.
to be fair: sharon was in a cabin alone and someone starts jiggling the door handle. she pulls out a gun. “tell me who it is or i’ll shoot.” no answer. the door opens. she shuts her eyes and pulls the trigger shooting adam in the arm. her eyes were closed; she can’t be held responsible.
“you’re the victim in this case: the babe . . . left on a door step.”
and i thought he was hitting on her.
(side note: ever seen that maybe carry grant movie about this single women gets a baby (or babe) on her doorstep? she tries to take it to the orphanage, but everyone is convinced she’s abandoning it.)
(another side note: even clorox is into electronic music.)
some back-story: so adam framed patty for murdering hightower. she’s waiting for trial in the mental hospital. but last week, adam broke into the mental hospital, pretending to be the devil, and convinced patty to become a nun and head to canada because she was about to recant on her testimony that she killed hightower and most likely implicate adam in the murder. now emily, her doppelganger and therapist (who, earlier, patty managed to switch places with so that emily was locked up in the mental hospital trying to convince everyone that she wasn’t crazy), is trying to locate patty.
but is emily a workaholic? her husband thinks so, but his maybe ex-girlfriend or wife just showed up at their house. sharon is waiting at the hospital and adam’s wife, sky lockhart, shows up pissed. understandably, since sharon shot sky’s husband. but worse, the entire confrontation is playing out on the local tv news (there’s a camera and reporter and everything).
vincent kicks the camera crew out. but luckily, there’s another event for the tv to cover: jill is going to give a press conference at a cemetery announcing that she’s a fenmore. she only recently learned that this dead fenmore was her real father. lauren fenmore shows up: “i’m here to make sure they (the television crew and, i guess, the audience) hear the truth. they’re having a hard time coming to terms that they’re sisters. jill, “you won’t even show me photographs of our father”; lauren, “cold, hard cash is all the fenmore name means to you” (jill is suing the fenmore family for more than her portion of the estate). jill, “ i just want to feel closer to daddy”; lauren, “you want to be closer to daddy”, shoving jill into an open grave, “is that close enough for you?” and it all happened live on tv.
sky, with a scowl: “you [sharon] cared so much that you put a bullet in him [adam].”
adam is coming too . . . everything is in tunnel vision . . . “you are waking up” . . . adam starts to look around (still with tunnel vision) . . . “in the room is your dad, your wife, your ex-wife and her husband” . . . “who shot you?” . . . “sharon” . . . now they’re gonna arrest her . . . but adam flashes-back to his true feelings . . . “wait, i take full responsibility. she didn’t know it was me. it’s all my fault.”
sky lockhart isn’t gonna like this.
this is one of two quotes found at the end of rambo 3. (the other is “i am like a bullet, filled with lead and made to kill”, which i think refers to rambo’s internalization of both his militaristic and zen-buddhist training, like how it’s not the solider that kills but rather the enemy appears and finds himself on the end of the sword without any conscious recognition or action by the solider, but rather something that happens automatically.)
i’m sure you’ve heard about all the new wikileaks on the afghanistan war. browsing the so-called paper-of-record, i came across something that referred specifically back to the third rambo movie:
the taliban have used portable heat-seeking missiles against allied aircraft, a fact that has not been publicly disclosed by the military. this type of weapon helped the afghan mujahedeen defeat the soviet occupation in the 1980s.
rambo was recruited by col trautman specifically to ensure the successful delivery of these kinds of anti-aircraft weapons (stinger missiles) to the mujahedeen. there were somewhere between 500 and 2000 of these missiles provided by the cia to the mujahedeen during the soviet invasion, but the cia only recovered about 300 or so after the war. while there is some doubt that stinger missiles this old could still be functional, there is some evidence that some were reversed engineered to create even more effective stinger missiles.
glitchin’: i-frames or key-frames of a temporally compressed video are removed, causing frames from different video sequences to bleed together
in other words, computers do the (artistic) work for us. here’s my favorite example:
some days, thankfully, i can forget that there ever where oscars. other days, like yesterday, i end up watching part of the hurt locker. and then i start wondering . . . have any good movies ever won best picture? turns out we (or rather the academy) have only called them best picture for only the last 42 years. from 44 to 68 is was known as best motion picture (as opposed, i guess, to ex-motion pictures); before that (41 to 43), outstanding motion picture; from 29/30 to 40, outstanding production; and from 27/28 to 29/29, outstanding picture. so let’s forget about best picture awards, they’re all a waste (except maybe annie hall, silence of the lambs and rocky (even though rocky 4 is better)). during the best motion picture period, we find some gems. specifically, west side story, marty and, of course, all about eve.
but who cares about awards anyway? they’re just marketing gimmicks.
back to the hurt locker. in the beginning, perspectives change rapidly. each of these perspective change (the long-shot of the bomb defusing squad, the close-up of the soldiers, the viewpoint peeking around the corner to view the action of the street, the long-shot of the rubble, etc) implies a camera filming the perspective. but there are no cameras in the shots except for the camera mounted on the bomb-defusing robot. so: cut to pov of the bomb-defusing robot. at this point i realized how i would have loved this movie: if, instead of focusing on actual human soldiers, the film followed the view-point of robotic soldiers. this, of course wouldn’t need to be limited to bomb-defusing robots but could also include remote piloted drones. the best part is the camera used to record the footage would already be physically linked to the robot-soldiers. the movie gets better. it turns out the taliban, as a way of combating all these robot-soldiers, starts training terrorist monkeys. which audio-visual recording devices attached to both the robot-soldiers and the monkey-terrorists, humans can now sit back and watch the televised battle.
this training of monkeys reminds me of this early silent film titled the anarchist and his dog. in this classic, an anarchists makes a grenade to get back at some reactionary for thwarting his attempts to pick up this woman. he throws the grenade near the target, but his dog ends up retrieving the grenade for him. you can guess how the movie ends.