On this solemn Saturday, commemorating the tragic Tuesday 20 years ago, I can’t add much more than past recollections in 2005, 2006, 2015, and 2020. I can strongly, strongly, strongly recommend that you watch National […]
On the same day, April 11, 2021, that my wife and I walked across the Spruce Street Suspension Bridge, we footed down 1st Avenue towards downtown. We wanted to reminisce about our delightful after-theater walk—planes flying low overhead to land—after watching Jesus Christ Superstar on stage at the San Diego Civic Center. That was Nov. 16, 2019, near the start of the 50th anniversary tour, which SARS-CoV-2 (severe acute respiratory syndrome Coronavirus 2)/COVID-19 lockdowns would end earlier than the planned Aug. 30, 2020 final performance.
At the corner of First and Kalmia, we came across the magnificent structure that is the Featured Image (warning: 30MB file), captured using Leica Q2. Vitals, aperture manually set: f/5.6, ISO 100, 1/320 sec, 28mm; 12:44 p.m. PDT. I reduced exposure in post-production, should you feel that the photo is too dark; that’s deliberately done.
Superhero movies don’t really appeal to me, which is major reason I haven’t bothered watching “Justice League” (2017) or any other films in the genre. The so-called “Snyder Cut” debuted on HBO Max, March 18, 2021. Two days ago, the Twitterverse—heck, the universe—learned that a black-and-white “Justice is Gray” version is “coming soon” to the streaming service. I love it!
During the early 1990s, I was an editor working for a general-interest magazine based in Washington, DC. I conceived, commissioned, and edited stories for print. Observed trend among successful freelancers: They would take one body of reporting/research and repackage it as different stories for several publications and their respective audiences. It’s a thrifty approach to news gathering that maximizes potential revenue for the writer, improves relationships with print (in this decade online) editors, and expands audience reach. Why shouldn’t filmmaking be something similar?
I really want to know. That sentence, the title, and a short list of TV Shows about viral epidemics is as far as this post proceeded when I started it on April 26, 2016. I meant to come back many times over the nearly five years since and really regret the failure following the World Health Organization’s declaration of SARS-CoV-2 (severe acute respiratory syndrome Coronavirus 2)/COVID-19 as a pandemic on March 11, 2020.
Still contemplating writing this essay, but not getting to it, I shot and edited the Featured Image on June 11, 2017. San Diego’s Museum of Man (since then renamed to “Us”) featured exhibit “Cannibals: Myth & Reality”. With so many of the virus movies or TV series focused on Zombie apocalypses, the exhibit artwork seemed so perfect illustration. Vitals, aperture manually set: f/5.6, ISO 100, 1/1000 sec, 28mm; 2:07 p.m. PDT, Leica Q.
Half a decade later, I wonder: How much did pandemic feature films and TV shows create soil for COVID-19 to grow into a state of global fear—and, as I will opine in six days, far exceeds the real risk posed to the majority of people; whether or not they are infected? Surely, you can guess my answer.
We follow up my neighborhood’s lone Trump-Pence 2020 sign with something even more surprising: Black flag that is the Featured Image, which I captured using iPhone XS on August 16. Vitals: f/2.4, ISO 16, 1/1229 sec, 52mm (film equivalent); 11:51 a.m. PDT. The tabby nicknamed Ranger from my “Cats of University Heights” series lives in the same residence.
Have feline families formed a coalition against racism? Nope. It’s the meeting of art, entrepreneurism, and opportunity. “CLAWS is not a group or organization, it’s my idea/message/statement/artwork/design”, creator Ryan Patterson explains on his Cat Magic Punks page. “If you love cats and are against white supremacy, you’re part of it!”
For Father’s Day, we present something sublime and classic—for timeless composition and subject: Self-titled “Zombie Movie“, by Robert Couse-Baker. The television may be analog and archaic but the camera is digital (Canon EOS 5D Mark […]
This afternoon, my wife and I attended one of two matinee showings for “Jesus Christ Superstar”, which is making a 50th-anniversary U.S. tour. The new stage play started in Syracuse, New York, on Oct. 1, 2019 and is scheduled to end in Fort Worth on Aug. 30, 2020. As I write, two local shows, at San Diego Civic Center, remain: Tomorrow at 1 p.m. and 6 p.m. PST. I enjoyed the performance enough to want to see it again, but that’s not happening.
Anne and I sat in the last row of the Orchestra section; seats 44 and 46. The location was close enough to fully see the performers and enjoy the music (the arrangement was fantabulous). Having not been to this theatre before, I chose to purchase presale tix that put us aways back but not too far. After attending, and seeing the musicians high over the back of the stage rather than in a pit before it, I might move forward. That said, because the cast performed across the stage, and above it, ORCHR3 V44 and 46 gave great vantage point. Closer seats are lower to the platform, perhaps too much so.
While walking home from UltraStar Cinema in Mission Valley, after watching “Ad Astra” on opening day, I crossed over San Diego River along Mission Center Road. Ripples upon the water delighted my eyes, which demanded capturing the moment, and I did using iPhone XS.
The film, starring Brad Pitt and directed by James Gray, is in essence about the consequences of solitary living—astronaut Roy McBride, his hero father Clifford McBride (Tommy Lee Jones), or all the living creatures (including humans) of Planet Earth. Somehow, looking down the river—even with the roar of Friday afternoon rush hour behind me—I experienced a moment of welcome solitude, ennobled by having just seen “Ad Astra”. Hence, the Featured Image and its companion.
Earlier this week, movie theater chain AMC dumped coal in my Christmas stocking when I attempted to cancel the $19.95-a-month, watch-three-movies-a-week Stubs A-List subscription. One, and then another, customer representative informed me that at signup, the terms of service explicitly states that commitment is for three months. He, then she, warned that cancellation would trigger immediate charge for the remaining two months. But the ToS restriction shouldn’t apply to me, being a returning customer.
Everything comes down to the meaning of one word: Initial. When A-List launched, on June 26, 2018, my wife and I joined. We ended our membership about 90 days later. The ToS states: “A-List has an initial non-cancelable term of three (3) monthly membership periods (the ‘Initial Commitment’)”. We were good with accepting that requirement, which we met. But on November 18, with a few holiday movies of interest, I resubscribed, presuming that by making a second commitment I could cancel whenever. However, AMC service reps claim that my 3-month obligation reset and initial is the applicable word. Oh, did I futilely argue the semantics of that. C`mon? Doesn’t initial mean first time?
Before the Internet, my international news and cultural information mainly arrived via shortwave radio. Back then, many global stations would send to listeners who asked stickers and other memorabilia. Few days ago, my wife dusted […]
I didn’t last long with streaming startup Philo. At 3:37 p.m. PST today, I purchased a gift subscription for six-months of discounted service. By 4:43 p.m., Philo acknowledged my cancellation (without refund, incidentally). I deserve some blame for not choosing the 7-day trial first. But the features are so modern and channel selection so perfect, I didn’t want to miss out the Holiday sale available since at least Black Friday. Besides, I had pondered Philo for nearly two weeks, all while brain-vacuuming professional reviews that offered little less than praise. Nowhere did I read, and perhaps carelessly missed, the dealbreaker: Cough. Cough. Streaming caps at 720p. Say what?
We live in the early era of 4K, which video quality I didn’t expect from Philo. But I fully anticipated watching 1080p on my Pixelbook or days-old Roku Ultra. As expressed, with flaming antagonism, in a requested cancellation reason emailed back to Philo: “I never imagined that streaming quality would be limited to 720p, which is jarring on my 43-inch TV…I hugely regret spending $99 for six months. Ho. Ho. Ho. Bah Humbug. There’s Philo coal in my Christmas stocking”.
For two years, I have been an annual subscriber to FilmStruck. Tonight the relationship ends, as AT&T shutters the service. Go back a few months, when making promises about consumer benefits, AT&T merged with Time Warner. Since, services like Direct TV Now cost more, while others are going or have gone. There is, or was, nothing like FilmStruck on the Internet—well, for content obtainable legally. Not that AT&T brass care.
The service was a cinephile’s dream. Where else do you see movies cataloged by director, or are there fascinating extras available almost nowhere else? I chose “Night to Remember” as Featured Image because it is one of my favorite classic films and for the accompanying interview with the last living Titanic survivor (before she died). Her recollection is rare footage that punctuates the movie’s storytelling.