Showing posts with label Media. Show all posts
Showing posts with label Media. Show all posts

Tuesday, September 15, 2015

Rue Morgue's Traffic Violation Continues

There's etiquette and then there's "netiquette" -- the proper way to act and operate online. One of the things that the people behind a website should not do is try to subvert traffic from another site to theirs. It's one thing to cross-post and backlink but it's quite another to poach traffic outright.

In the world wide web, content is king. I will admit that I don't get a whole lot of traffic to this site and that's because I barely write anything new here. I'm sporadic with my updates and they are few and far between. Worse, most of my posts are pretty boring. However, they are mine. I take the time to write them.

What I don't do is go out to another site, copy their posts, give a little link back to them, and then go out to my social media channels and point people over to this site rather than the original source material. That's pretty shady, right?

That's exactly what I've seen going on lately with the fine folks over at Rue Morgue.

Normally, web traffic should go like this:

I see an article or announcement that's interesting and then I go out to my social media feed and post a link to that page/site. I'm spreading the word about something and perhaps prompting a discussion of the topic on my Facebook wall.

What Rue Morgue has been doing lately (at least since around June that I've been able to find) is wholesale copying articles from sites, putting them on their site, and directing traffic to themselves. This isn't plagiarism, per se. They give the author of the original article credit but they don't get permission from the original website to reprint.

Rue Morgue is taking away traffic from original websites who rely on those hits for revenue to hire the writers responsible for content that Rue Morgue is lifting. Rue Morgue isn't paying the writers that they're reprinting. For some reason they seem to think that this is fine for the web. I hope they never consider this to be fair practice in the print version of their magazine.

Here's the flow of this Rue Morgue set-up:


A real world example is "their" recent posting "Lost ending of Stanley Kubrick's THE SHINING explained" from July 10, 2015. Gwynne Watkins wrote the original piece for Yahoo Movies and Rue Morgue copied and pasted her entire piece onto their site. True, it was credited to Ms. Watkins (as if she is working for Rue Morgue) and there's a link (below the fold of the page) to Yahoo Movies but this still feels shady as Rue Morgue then posted the link to their article on their Facebook page so that traffic would go back to their website.

That means that Rue Morgue gets the hits. Rue Morgue's web ads show. Rue Morgue looks like they're providing content. Rue Morgue gets to save on paying writers while the real writer and original site get none of the benefits.

Yes, getting an article reprinted on Rue Morgue's website may be great exposure for an aspiring writer but so is just sharing that article via the Rue Morgue social media feed. Diverting viewers to the Rue Morgue site is a boon to Rue Morgue itself. They have ads at rue-morgue.com to be clicked, merchandise to be sold, and magazines to push. They're getting free content and not paying a dime to anyone. It's not a win/win situation for the writer/magazine as the writer isn't getting anything for their work except the effluviant "exposure" while Rue Morgue is driving up their web traffic and, possibly, sales. Essentially, they're making money off the work of other people and not paying them. It's not like they're abusing unpaid interns but they're taking from other writers and websites without any permission and with just a cursory link and credit.

A writer like Gwynne Watkins doesn't need "exposure" via Rue Morgue. She's a professional writer with upper-tier magazines on her curriculum vitae. She's not an amateur blogger who might take an unauthorized reprint as a compliment.

When asked about this practice, Ms. Watkins says:

"I'm not familiar with this site but I do have a problem with any website or publication reprinting an article of mine, in full, without my permission or the permission of the original publisher. It's one thing to excerpt or summarize, and link back; I consider that a compliment. But this amounts to stealing content, and it's unethical."


Not all of the Rue Morgue website posts are complete lifts. They often will excerpt pieces from an article on another site and provide a link to read the full text. This is the more standard practice. Yet, this still isn't completely kosher.

On July 9, 2015 Rue Morgue posted on their Facebook page: "We countdown the creepiest MAGIC: THE GATHERING cards of all time". However, the "we" was not Rue Morgue but James Whitbrook of i09. Mr. Whitbrook doesn't get credited on Rue Morgue. The article is credited to "Staff" on the site. There is a sentence after the lead paragraph that plainly states "James Witbrook of io9.com has compiled a list of the all-time creepiest magic cards, complete with artwork and blurbs, and they are pretty damned spectacular." Yes, Rue Morgue misspelled Mr. Whitbrook's name.

Mr. Whitbrook's original article included 12 cards/descriptions. Rue Morgue reprinted seven of those with a link back to io9 at the end of the piece. This is close to proper netiquette save for the misspelling of the author's name and the post that says "We" as if Rue Morgue was the source. How hard would it have been to say, "James Whitbrook of io9 counts down the creepiest MAGIC: THE GATHERING cards of all time"?

That pesky "we" creeps into their Facebook posts like "Sir CHRISTOPHER LEE: legend of screen and Gentleman of Horror, we bid you adieu... " for an article they reprinted from The Guardian (it says that it comes "courtesy of The Guardian, as if The Guardian granted them permission to reprint?) and "From the Flaming Wheel to Getting Tossed Onto Knife Mountains, we've got the craziest punishments in Hell!" in which the "we" was actually Rob Bricken at io9.

This isn't a case of a link or two. A quick look at the Rue Morgue Facebook feed over the last few weeks reveals numerous instances that go beyond simple reprints of posters, YouTube videos, or images from other sites. Yes, some are simply copying a few paragraphs as a "teaser" (common practise for a lot of sites) but here's a couple of the more egregious violations like The Shining article:

Charlie Hintz, who penned the Haunted Bunk Bed article is pragmatic about his situation:

I wasn't even aware of the Rue Morgue article. Not sure how I missed it.

I have mixed feelings on this subject. From a writer's perspective, of course I want my articles to be read. However, the reason I carve time out of my busy day to write around a day job, activities with my children, etc. is because I have bills to pay. I rely on the content I create for my websites to help support my family.

When my content is published on another commercial website without my knowledge or consent, the benefits are marginal at best. Generally, though not always, a link to my original article is included, which may provide a trickle of new website visitors for a brief period of time, and as well as a citation helpful in building authority for SEO purposes.

In the end, however, Rue Morgue benefits much more from my work than I do as it fits into their overall content marketing strategy.

This situation of reprinting is not limited to Rue Morgue and is something that I had hoped had gone the way of the internet Wild West. Yet, this damming of internet traffic flow still happens fairly regularly either under claims of "remixing" or "fair use".

If this problem isn't limited to Rue Morgue, why pick on them? Here are a few reasons:

  1. It seems that this is a fairly recent practice so it's not too late to pull all of these reprinted pieces, delete the Facebook posts (or change them to point to their original sources) and apologize for this practice.
  2. As a print publication of many years, Rue Morgue should know better than taking other people's work and reprinting it.
  3. Rue Morgue can re-evaluate their situation and hire real web writers rather than cribbing content from other sites and doing a bait & switch to make it seem like their own.

Let's hope that this piece shames Rue Morgue into blowing up those dams and reestablishing the proper flow of traffic while encouraging them to realize that writing for the web is as important as writing for the pages of their venerable publication.

Your move, Rue Morgue.

Update: 9/15/2015

It seems that Rue Morgue's move was to keep going down the same path.

Here's a page on their site: Read about the legends surrounding New Jersey's SHADES OF DEATH ROAD posted on September 7, 2015. That is a complete direct lift of The Cursed Death Road of New Jersey by Brent Swancer.

When contacted for comment about having his article completely taken and re-used by Rue Morgue, Mr. Swancer said, "I had no idea that my article was being used in such a way. Thank you for bringing it to my attention. I think this sort of behavior is disheartening. I spend a lot of time and effort researching, compiling, and writing my articles. They are a labor of love. So to see them picked up and then not linked to my site, in a way in which I can not get the proper traffic or respect for the site that I am on, is quite sad. I have seen worse. I have seen some of my work wholesale plagiarized without any credit to me at all. But this is almost as bad.

"I don't mind if someone wants to link to my articles. I welcome it. However, they should do so in a manner that is keeping with how things are usually done, where we can get due revenue and respect for our efforts. This sort of behavior quite frankly makes it hard to be a writer on the Internet and I wish they would not do this.

"I do suppose that there will always be those scavengers without the talent, means, or desire to put in the effort, who would rather just pick up others' work and subject it to this kind of treatment for their own gains and it is discouraging. It does nothing but make them a little money, robbed from us, and at the same time lessens the quality of articles out there due to discouraging the most talented people from wanting to put in the work to put their articles out there. This sort of behavior is only detrimental.

"I am not so much angry as very exasperated and disappointed. I was quite shocked to see this and would request that the site in question either goes about these things in the proper way or ceases such activities."

What's the story, Rue Morgue? Why do you feel that you're above it when it comes to picking up articles and placing them on your site? Is it okay to just start taking articles from the Rue Morgue site and passing them off as your own? Maybe people should all pick their favorite Rue Morgue piece and re-blog it with a little link back to the original but say it was written by "Staff".

Thursday, September 01, 2011

Impossibly Funky Media Coverage!

I'll post more links as they come along! Big thanks to everyone for taking the time to give me a shout!

Friday, April 01, 2011

Those Unhappy Days: The Disappearance of Chuck Cunningham

Along with the frothy good times that television sitcoms gave audiences in the '70s and '80s, studio mandated "very special episodes" proved that comedy is serious stuff. In the '80s, sitcom characters often dealt with drug addiction to appease the Nancy Reagan "Just Say No" campaign, meaning that one could turn on their television set on a given week and see some of their favorite sitcom characters addicted to narcotics; a problem they'd not had the week before nor would they have the week after. Yes, life's problems can be solved in a half hour.

In the '70s social ills such as rape and pedophilia cropped up on occasional sitcoms. Often these episodes became the most memorable only because they were the most disturbing; the sour notes in an otherwise simple sitcom song. Yet, the hardest hitting television episode of the 1970s never made it to the air.

Set in the idyllic 1950s, "Happy Days" began as an episode of "Love, American Style" before becoming a show in its own right. The gritty tone of this pilot and the show's early episodes are all but forgotten. The original first season's finale episode would have changed the tone for the subsequent season and the show overall. This had been the plan of producer Tom Miller but the executives at ABC wouldn't allow the finale to be shot.

The main characters of "Happy Days," the Cunningham family, consisted of father Howard, mother Marion, sister Joanie, and brothers Richie and Chuck (played by both Gavan O'Herlihy in "Happy Days" and Randolph Roberts in "Love, American Style"). While Chuck appeared in a few episodes of the show's second season, he disappeared with nary a mention before the third season began. Some have jokingly reported that Chuck died in the Korean or Vietnamese conflicts or that he got a scholarship to outer Mongolia. But Chuck's original fate had been Miller's brainchild.

It's uncertain whether Chuck would have remained in the Cunningham household after the bombshell dropped but his spirit should have loomed long over the family. The affects of Chuck's acts could be witnessed in the way that Joanie focused on sexuality, always describing things told to her by an off screen (until season 8) character, Jenny Piccolo.

The first season's finale should have revealed that Jenny Piccolo was the name of Joanie's other personality. Joanie's psychic schism had been the result of long-term abuse by her older brother Chuck (who demanded that Joanie "play his piccolo"). The revelation of Joanie's multiple personality disorder and the incestuous rape by Chuck would have made "Happy Days" a completely different show.

When ABC executives caught wind of Miller's plan they demanded a rewrite and forbade him from ever broaching the topics of the show again. Their mandate allowed Chuck to stay but Miller quickly wrote him out of the second season's episodes as his role had been negated -- The Fonz would be toned-down from a greaser to Richie's mentor. Later, Miller would attempt other controversial subject matter when an Oedipal relationship between Fonzie and Marion Cunningham went too far with Fonzie threatening to kill Howard Cunningham and take Marion away from Wisconsin on the back of his motorcycle.

Miller lost this battle with ABC as well and spited the network by making Fonzie more and more a parody of the character, resulting in the infamous "jump the shark" moment of the show (and let's not forget the replacement of the leather jacket with the "pleather" jacket").

Not only did Chuck disappear from the show but several of the show's writers wiped him from the face of the earth. When introducing his family, Howard Cunningham often remarked that he had two children, leaving out Chuck completely. Is it any wonder, with his crimes, that Howard would disown his first son?

Monday, March 28, 2011

James O'Keefe and the Five Dollar Words

This story on NPR's On the Media cracked me up.

My favorite bit is James O'Keefe's obtuse diction. Check out this line at 5:07:

No, we show these egregious statements on tape and I don't think that anything is mitigated by that. It's a logical nonsequiter for you to say, "Well, in the other parts of the tape he said non-egregious things, therefore it exculpates him."

It seems that O'Keefe's thesaurus is missing a few pages. He just keeps using the same five dollar words repeatedly like at 7:34 in:

Unless you can point to a specific thing in the tape that mitigates or exculpates the egregious statements made by the employees, you're just using obfuscation.

He sounds like one of those under-educated people who latch on to a few important-sounding words and bandies them about without knowing what they really mean.

Tuesday, January 18, 2011

Cinekink Cool? You Betcha!

Big congrats to the folks at Cinekink for recently being named as one of the 20 Coolest Film Festivals by Movie Maker magazine. This is well-deserved recognition.

Be sure to keep up with Cinekink for this year's festival (March 1-6, 2011) and their touring program.

Tuesday, January 11, 2011

Tarantino's Mix Tapes Get Award

From today's Hollywood Reporter:

Quentin Tarantino will be honored with the first ever Critics' Choice Music+Film Award.

The inaugraual(sic) award was created to honor a single filmmaker who inspires moviegoers with cinematic storytelling, but also heightened the impact of film through the use of source and soundtrack music.

Tarantino was cited for his mix of music and film in Pulp Fiction, Reservoir Dogs, Kill Bill: Vol 1 & 2, and Inglourious Basterds.

And that's all HR had to say. There was no examination of how ludicrous this news is. While I'm a big fan of the soundtracks for Reservoir Dogs and Pulp Fiction, Tarantino lost me when it came to Jackie Brown with the opening sequence (a visual lift from The Graduate) set to the title track of Across 110th Street. Since then he's just been absolutely shameless with his use of other films' music in his own movies.

The Graduate

Plus

Across 110th Street

Equals

Jackie Brown

Or

When Jackie Met Benjamin

You can call Tarantino one of the most environmentally-friendly filmmakers of our age due to his visual and audible recycling. You can say that it's wonderful he's throwing a spotlight on older films via his "sampling" of soundtrack music from older films. Or, you can say that he's a lazy filmmaker who doesn't employ a composer to score his film but just leaves the "temp track" on his movies. The real shame is that there are people I've talked to -- people who claim that they're film fans -- that have no idea that "that great song in Inglourious Basterds" was from another film.

The Big Gundown

Even the tune most-associated with Kill Bill, Tomoyasu Hotei's "Battle Without Honor Or Humanity" was the theme to, you guessed it, Battle without Honor or Humanity.

Battle without Honor or Humanity
Kill Bill Trailer

So, I'm a little taken aback by Tarantino getting acknowledged for his inspiring use of soundtrack music. If anything, it seems a little uninspired.

Twisted Nerve
Kill Bill

Now, now... I know I shouldn't get so bent out of shape. I mean, Quentin Tarantino does so much to give back to the film community. After he rifles through all of these films, biting his favorite bits, including songs, he does a great job of getting them put out on deluxe DVDs via his illustrious company Rolling Thunder, right? I mean, look at that lovingly restored version of The Grand Duel, the controversial The Losers disc, and that deluxe box set for Twisted Nerve and, of course, the movie his company was named for -- Rolling Thunder -- has been flying off the shelves since it had the huge DVD and revival house screenings it enjoyed... Oh, wait....

Rolling Thunder released just a handful of films before it closed up shop. It never released Rolling Thunder, its namesake, nor did it release (m)any of the films that, eh-hem, inspired Tarantino. Instead, it became just another ill-conceived vanity project that lived for a while in the VHS age and never translated to DVD.

And, what's worse, he continues to get lauded for his so-called contributions to the movie and music world. Critics' Choice is even making up an award for him, the Music+Film Award. Let's not talk about how music's been used through the ages -- even repurposed -- to work with film.

Kubrick
And what about Stanley Kubrick and his use of classical music for films like A Clockwork Orange and 2001: A Space Odyssey? In the case of 2001, Kubrick had a full score done for his film with the intention of utilizing several classical pieces regardless. While these pieces may have been used in the past (I won't make any claims to knowing in "The Blue Danube" had never made an appearance in a movie before 1968), Kubrick's visuals and the content of his story recontextualized these songs to give them additional meaning. Though some may think that Elvis is about to go on stage when they hear "Also Sprach Zarathustra", the piece was given this new life as Elvis's theme music due to 2001.

The same can be said about A Clockwork Orange with the additional facet that the music here was given a new life via the machinations of composer Wendy Carlos Williams. "Ode to Joy" and other classical pieces are given new life via Williams's use of electronic music to reinterpret the classic pieces into a dystopian future. And, let's not forget Alex (Malcolm McDowell) recasting "Singing in the Rain" as his song of happiness as he commits atrocious acts. If Tarantino had made A Clockwork Orange he'd have set the action against Motown recordings and had Alex sing "Tears of a Clown".

Scorsese
There are so many songs that I can't hear without picturing the images that went with them in various films; when I hear "Layla" by Eric Clapton I can only think of the montage from Goodfellas. Or, to continue with Goodfellas, whenever I hear "Sunshine Of Your Love" by Cream I think of the slow push in on Robert DeNiro as contemplates his situation. All of the acting going on in his face while that music just brings out the darkness in his heart.

Goodfellas

Now, I'll completely agree with the way that Tarantino worked with '70s songs in Reservoir Dogs (I can't hear Stealers Wheel without picturing Mr. Blond doing a little boogie to it before he goes to work on Marvin Nash with a razor blade. Or hear "Little Green Bag" without picturing the cast walking in slow-mo during the opening credits. (Reservoir Dogs wasn't mentioned in the above Hollywood Reporter quote). And his use of surf music as "modern day spaghetti western music" worked wonderfully in Pulp Fiction. But, since then, it's been downhill with his pilfering of other films' soundtracks for his own. And, for that, he gets lauded and an award from his peers. Shameful.

Special bonus track:

Tuesday, December 28, 2010

Picking at a Scab

A few months ago I wrote about a list of movies on io9 that really stuck in my craw. The list is back... in a way, with the site's recent run down of Best and Worst Science Fiction/Fantasy Movies of 2010.

Once again, here's io9's list of anticipated films:

  1. The Crazies (7)
  2. Kick-Ass (6)
  3. Predators (4)
  4. Toy Story 3 (2)
  5. Inception (1)

And here's how these fit in with the best/worst list:

Best:

  1. The Wolfman (9)
  2. Legion (8)
  3. The Lovely Bones (7)
  4. Iron Man 2 (6)
  5. Tron: Legacy (5)
  6. The Book of Eli (4)
  7. Jonah Hex (3)
  8. The Last Airbender (1)

Not Listed:

  1. Hot Tub Time Machine
  2. Repo Men
  3. A Nightmare on Elm Street
  4. Despicable Me
  5. Priest (not yet released)
  6. Red Dawn (not yet released)
  7. Green Hornet (not yet released)

For the record, that's five on the Best list and eight on the Worst. That's really not too good of a track record.

Why am I picking on io9? Am I just bitter because I sent them a book back in July or August and they have yet to review it?

No.

I've been mad about the list of anticipated films since I first read it; mostly because it gave such short shrift to any independent films when that's the breeding ground for fresh entertainment; smaller films such as Moon, District 9 and Time Crimes. So where were the smaller films of 2010? Nothing got made that wasn't produced by a major studio? This is just a little too lazy and easy for me.

The smaller films didn't even make it onto the list for best/worst with the possible exceptions of The Last Exorcism and Splice but saying that those were "small" is debatable. Anything I saw advertised on national TV probably doesn't cut the mustard. Where were the films like Mars, Earthling, or Monsters?

I won't say that I've got a lock on independent horror/fantasy/sci-fi films. I actually rely on websites like io9 to give me the scoop. Check out this list from Fatally-Yours.com of The Best Horror Films of 2010 You Didn't See (But Should!) by Sarah Jahier and this one and this one from Twitch.com. I'm sure I'll have other, better best/worst lists to link to soon. Lists full of movies that I've never heard of.

Friday, August 06, 2010

The Best Movie You've Never Heard Of?

One of my pals sent me a link to a story on Yahoo Movies, "Sundance Favorite Finally Gets Released After Thirteen Years" by Jonathan Crow.

I'm not familiar with the 1997 film Colin Fitz Lives! and that's not why I'm writing this blog post. I just wanted to point out this line in the opening paragraph:

"The low-budget comedy was praised by Roger Ebert and Harry Knowles."

Yeah, no shit, do you think that's because Harry Knowles is in the movie?

Seeing Harry on screen is enough to make me want to pass on ever seeing the best movie I've never heard of.

Monday, May 10, 2010

A Musical Dilemma

I have a serious question. Is it just me or does Ke$ha sound like the Lady Tigra from L'Trimm?

Comparison:

Versus

And here's something just for fun:

Thursday, May 06, 2010

Stop the Presses!!!

Rotten Tomatoes has just blown my mind! Can you believe that they've dug up some obscure Chinese movie and said that Quentin Tarantino may have recycled ideas from it for his film Reservoir Dogs? This is impressive journalism!

Okay, okay, I'm being completely sarcastic. Believe it or not but it's almost the twentieth anniversary of Who Do You Think You're Fooling! Maybe in 2003 I'll ask George Lucas to remaster it and add a retarded rabbit to it.

Saturday, September 26, 2009

Good Bye Solo

The Gomorrah Must Be Crazy

Apparently the designer of the Criterion DVD cover for Gomorrah must be a big fan of The Gods Must Be Crazy. See below for a comparison.

Saturday, July 18, 2009

The Decomposing Composers

Despite the tag at the end, I kept thinking that this commercial was for Raisin Bran cereal:

This spot really warms my heart as it brings back memories of a series of commercials I wrote way back when I worked for Comcast in the mid-'90s. I was given the task of writing a few spots for Evola Music up in Bloomfield. I wrote out a couple of generic spots (even naming them "Generic 1", "Generic 2") that talked about the amazing selection of pianos and blah blah blah. But then, then, I also gave Evola a few more interesting things to chew over. One of them starred a superhero a la Ultra Man but named "Evola Man." I also gave them a spot with a family shopping for pianos who happen to run into Franz Lizst, Johannes Brahms, and Ludwig Von Beethoven. "If we shop here, maybe you should too!"

My boss, not one to take chances, faxed over the two generic spots weeks in advance and saved the other two until the day before shooting. Believe it or not but the client mentioned how much they liked the "crazy" spots but there hadn't been any time for discussion, casting, etc. That said, I'm glad to see such a "crazy" spot as "Raisin Brahms" on the air.

Friday, April 17, 2009

The World's Greatest Sinner -- Tonight!

If you’ve never seen THE WORLD’S GREATEST SINNER… you need to. It’s an absolutely amazing flick. Psychotronic and just psycho in general. It’s the brainchild of Timothy Carey – one of my favorite character actors. He wrote, directed, produced, and stars in this film about a rock & roll preacher who declares himself the one true deity.

The film’s score was written by a young Frank Zappa and the movie’s been incredibly difficult to see for decades. TCM is bringing it to cable tonight “around 2AM” and it’s a must-see.

More details at TCM

More about Timothy Carey

You won’t see anything else quite like this mind-bending film.

Friday, April 10, 2009

Republicans Love Teabagging?

Don't Spoil Me

In early 1994 I had the privilege of seeing an early screening of The Hudsucker Proxy. Walking in, I knew nothing about the film other than who directed it. As Norville Barnes kept showing off his "sweet little baby" -- a drawing of a circle -- I had absolutely no idea what this blueprint would turn out to be. Imagine my delight when it was revealed.

Compare this to 1991 and Terminator 2: Judgment Day. If one was able to watch this film "cold" -- with no prior knowledge of what's going to happen -- then there's a significant twist at the end of the film's first act when the Terminator uses the "Come with me if you want to live" line, suddenly flipping expectations that he's not there to kill young John Connor but save him.

Seeing Terminator 2 cold was an impossibility. The hype was too big and, worse, my curiosity was too great.

In the past few years I've managed to let that curiosity go. I've ruined too many things for myself by researching films before they come out.

Sometimes, however, I don't have a choice. I want to remain blissfully ignorant to the intricacies of a film but this is in direct conflict with the way movies are marketed. Previews and commercials give far too much away. Worse, you can't look at too many pages on the Internet without seeing spoilers casually posted as if they were common knowledge.

Don't spoil me. Don't make the information so easy to come by. I want to work for it or, even better, I want to not know and just enjoy things for what they are.

I'm saying all of this as the new crop of "summer movies" loom on the horizon. The bigger and geekier a release, the most spoilers come flooding across the Internet tubes.

I don't want to know the plot of Star Trek XI, I don't need to learn who's who in the remake of "The Prisoner", I don't thirst for knowledge of how "100 Bullets" may end. Can't I just enjoy things for what they are when they happen?

I'm going back to my cave now... Put me in a blindfold and lead me to the theater when Star Trek XI comes out.


Addendum: I just remembered that Star Trek XI comes out on May 8, 2009. I'm going to be neck-deep in film festival fare at the Maryland Film Festival that weekend. Will I actually be able to keep the spoilers from my ears for an extra week before I see it? It's going to be tough but I hope so!

Saturday, April 04, 2009

The Irony Could Choke a Horse

In his weekly "Motion Captured" column, Drew McWeeny discusses the leak of 20th Century Fox's X-Men Origins: Wolverine and the subsequent review of it by a critic affiliated with Fox's media empire.

McWeeny is out for blood, calling for the firing of this critic for downloading Wolverine and writing about it. McWeeny gets on his high horse, writing, "Since [Hitflix.com] not only refused to review [Wolverine] but also to publish any reactions to it from anyone else, and since the same thing happened at Ain't It Cool and CHUD and at most of the other major geek sites, Fox is in an awkward position here. We all respected the law. We all chose to do the right thing.".

Wow. I'm amazed McWeeny can still type this drivel after patting himself on the back for so long and hard. His writing is infused with the flavor of sour grapes mixed with fear -- a bitter brew indeed. Sour grapes that someone else is getting the scoop. And fear of legal reprisal from Fox if McWeeny wrote about Wolverine. McWeeny sounds like an errant tattletale toddler screaming to Fox for the blood of this critic for getting away with what McWeeny wanted to do: "This is criminal. It's blatantly criminal, and it's the sort of behavior that would be punished if it was anyone else."

I'm amazed that McWeeny knows what "the right thing" is. Don't forget, McWeeny used to go by the name of Moriarty when he wrote for Ain't It Cool News -- a site that made its name from "scoops" just like the one McWeeny is so mad about now. The hypocrisy is astounding.

As for the film, I won't pretend that I didn't download it. I eat this kind of stuff up. I love seeing works in progress just as much as I love seeing fan edits as continuing to work with material to reshape it. The Wolverine wasn't too bad. It was far better than the last few Marvel-based movies I've seen though not perfect. It was no Iron Man, Spiderman 2, or X2 (but it was slightly better than X3).

Certainly, the rough cut of Wolverine is far from complete in its score, effects, ADR, etc. I think that the biggest difference is going to be the expansion of Ryan Reynolds's role (the same could be done for Taylor Kitsch -- I still think that Gambit is the lamest mutant ever). Reynolds shows up in the beginning of the film and appears again later (nearly unrecognizable) as Deadpool. Bumping up his screen time is going to help fill in some holes. However, there is more room for improvement.

Io9.com has a very good article, 10 Ways Wolverine Could Still Become A Decent Film. I agree whole-heartedly with the observations made by Charlie Jane Anders. Moreover, I appreciate that the writer doesn't make any bones that he saw the Wolverine rough cut or call for the head of anyone else who's seen it like some other bratty critics have done.

Sunday, March 08, 2009

BluRay? Not Me.

I wrote a little screed over at ForcesOfGeek.com called "The Ain't Gonna Upgrade Blues". I wrote it a few weeks ago and even in that small time I've read more and more about the move to more instant programming on TV via the internet.

Friday, March 06, 2009

Tuesday, March 03, 2009

Oh Navy!

Hey, Old Navy, we're glad to see that you like The Fuccon Family but the "Oh Mikey!" series is a lot funnier and subversive.