James Cameron lighting a cigar with a burning $100 bill
For the next AVATAR, send Jake Sully to Earth to infiltrate RDA by way of a new human body avatar. There. I just saved you about $150 million in effects budget, Jim.
Pretty crazy how important the blockade of a trade route is right now
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Common experience….
( #CountryRockSunday )
This is all I have ever wanted.
In 1995, PBS ran a lavish ten-part documentary called American Cinema whose final episode was devoted to "The Edge of Hollywood" and the increasing influence of young independent filmmakers - the Coens, Jim Jarmusch, Carl Franklin, Q. Tarantino et al. It was not just unfair but bizarre that David Lynch's name was never once mentioned in the episode, because his influence is all over these directors. The Band-Aid on the neck of Pulp Fiction's Marcellus Wallace - unexplained, visually incongruous, and featured prominently in three separate set-ups-is textbook Lynch. So are the long, self-consciously mundane dialogues on pork, foot massages, TV pilots, etc. that punctuate Pulp Fiction's violence, a violence whose creepy/comic stylization is also resoundingly Lynchian. The peculiar narrative tone of Tarantino's films - the thing that makes them seem at once strident and obscure, not-quite-clear in a haunting way — is Lynch's tone; Lynch invented this tone. It seems to
me fair to say that the commercial Hollywood phenomenon that is Mr. Quentin Tarantino would not exist without David Lynch as a touch stone, a set of allusive codes and contexts in the viewer's deep-brain core. In a way, what Tarantino's done with the French New Wave and with Lynch is what Pat Boone did with Little Richard and Fats Domino: he found (rather ingeniously) a way to take what is ragged and distinctive and menacing about their work and homogenize it, churn it until it's smooth and cool and hygienic enough for mass consumption. Reser voir Dogs, for example, with its comically banal lunch-chatter, creepily otiose code names, and intrusive soundtrack of campy pop from dec ades past, is Lynch made commercial, i.e. faster, linearer, and with what was idiosyncratically surreal now made fashionably (i.e. "hiply") surreal... Take the granddaddy of in-your-ribs Blue Velvet references: the scene in Reservoir Dogs where Michael Madsen, dancing to a cheesy '70s tune, cuts off a hostage's ear. This just isn't subtle at all. None of this is to say that Lynch himself doesn't owe debts-to Hitchcock, to Cassavetes, to Bresson and Deren and Wiene. But it is to
say that Lynch has in many ways cleared and made arable the contempo- rary "anti-Hollywood" territory that Tarantino et al. are cash-cropping right now.12 Recall that both The Elephant Man and Blue Velvet came out in the 1980s, that metastatic decade of cable, VCRs, merchandis- ing tie-ins and multinational blockbusters, all the big-money stuff that threatened to empty the American film industry of everything that wasn't High Concept. Lynch's moody, creepy, obsessive, unmistakeably personal movies were to High Concept what the first great '40s noir films were to toothy musicals: unforeseen critical and commercial successes that struck a nerve with audiences and expanded studios' and distribu- tors' idea of what would sell. It is to say that we owe Lynch a lot. And it is also to say that David Lynch, at age 50, is a better, more complex, more interesting director than any of the hip young "rebels" making violently ironic films for New Line and Miramax today. It is particularly to say that - even without considering recent cringers like Four Rooms or From Dusk to Dawn - D. Lynch is an exponentially bet- ter filmmaker than Q. Tarantino. For, unlike Tarantino, D. Lynch knows that an act of violence in an American film has, through repetition and desensitization, lost the ability to refer to anything but itself. This is why violence in Lynch's films, grotesque and coldly stylized and symbolically heavy as it may be, is qualitatively different from Hollywood's or even anti-Hollywood's hip cartoon-violence. Lynch's violence always tries to mean something.
9a a better way to put what i just tried to say Quentin Tarantino is interested in watching somebody's ear getting cut off; David Lynch is interested in the ear.
There's an interesting section in David Foster Wallace's piece about Lynch's Lost Highway, where he talks about the difference between Lynch and Tarantino (and how much Lynch was an influence on a whole crop of filmmakers)
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Only every tv show will be prestige paced and desaturated. Recording equipment sounds thin and reedy and comics are all on glossy paper. Texture's all wrong.
Difficult people in your life might make you age faster, study suggests - The Washington Post
apple.news/AcKa3igATS26...
The one where he removed the line at the end with the title drop, correct? If it's an "official" release, it's always (unfortunately) this cut, I think. Apart from the second-guessing that also annoyed me so much about the unrated MIAMI VICE cut, the tinkering with the colors drives me to despair.
Let’s clear this up now: Trump wore that stupid-ass white ball-cap because he’s the same man who called fallen troops “suckers” and “losers.” He does photo ops, not sorrow.
Let's take it up another level. Donald Trump does not give a F*ck about our troops or their family members.
Said it before and I'll say it again: In a world where all evil is cartoonishly obvious, the cartoonishly obvious answer here — Donald Trump had Jeffrey Epstein murdered and the footage destroyed — is clearly the correct one
Hey, remember how I said that my third friend in the oil industry didn’t respond? Yeah they got back to me.
It’s not looking good, team
Going to a Kmart would fix me
Going to a Kmart would fix me
“But a movie that establishes its political context by having its main character scream ‘Me too!’ several times in a row is not interested in the contemporary fetish for subtlety and understatement.
It’s as if Gyllenhaal’s saying, We tried hinting. Now: time to scream.”
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This is a psychotic thing to think, let alone to say out loud, let alone to say during a broadcast interview. That he lacks the discernment to understand that, demonstrates his terrible judgement. He is as unfit as Trump.
Again. This matters.
THREAD: I got laid off from NYMag/Vulture after 14 years. The family lost 75% of income + medical. Now mzs.press bookstore, once a side project. is do-or-die for Judith & I. I feel weird telling you this because others are doing much worse. But if you could like or share this, we'd be so grateful!
If you're a powerful creative person, a moment will always arrive when you can do something a little brave that will help people, or refuse to. The book I'm working on right now is in part a history of who did what. All I'll say about this is, it never gets forgotten. deadline.com/2026/03/pixa...
Having some of the most thoroughly redacted thoughts of my life.
I planned to share my report on the body cam footage early next week when I learned that a DC news station had obtained some of the footage as a result of my lawsuit and they were going to scoop me. After working on this for a year, I couldn't let that happen. Published 2 mins before they aired :)
I’m sorry, doing this in a baseball cap sold by your campaign store is deliberately disrespecting the dead.
Beautiful, devastating writing
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Always proud to be associated w/men like @flmfrkcentral.bsky.social and @amuredda.bsky.social. No more so than today. www.hollywoodreporter.com/movies/movie...
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