Just passed a group of bros in the parking lot. They were all wearing snapbacks and muscle shirts. As I passed I heard their conversation. The one bro was arguing, “Naw man, Dumbledore was a terrible caretaker, he literally sent kids into fucking death forest for detention. Messed up man.”
Steve McQueen - Deadpan (1997)Turner Prize-winning artist Steve McQueen—now best known for his feature films, Hunger, Shame, and 12 Years a Slave—put himself in the line of fire in Deadpan (1997), a restaging of Buster Keaton’s falling house gag from Steamboat Bill Jr. McQueen does more than remake the stunt; his presence as a black man transforms the work into a commentary on race relations and the precariousness of the black experience.
—"Damage Control: How Artists Destroy to Create Art"
The theaters of the future will be bigger and more beautiful than ever before. They will employ expensive presentation formats that cannot be accessed or reproduced in the home (such as, ironically, film prints). And they will still enjoy exclusivity, as studios relearn the tremendous economic value of the staggered release of their products.
The projects that most obviously lend themselves to such distinctions are spectacles. But if history is any guide, all genres, all budgets will follow. Because the cinema of the future will depend not just on grander presentation, but on the emergence of filmmakers inventive enough to command the focused attention of a crowd for hours.
These new voices will emerge just as we despair that there is nothing left to be discovered. As in the early ’90s, when years of bad multiplexing had soured the public on movies, and a young director named Quentin Tarantino ripped through theaters with a profound sense of cinema’s past and an instinct for reclaiming cinema’s rightful place at the head of popular culture.
Never before has a system so willingly embraced the radical teardown of its own formal standards. But no standards means no rules. Whether photochemical or video-based, a film can now look or sound like anything.
It’s unthinkable that extraordinary new work won’t emerge from such an open structure. That’s the part I can’t wait for.
Doing The Pledge of Allegiance every school day for 4 or 5 years is one of those things that don’t seem strange when you’re young
But then you get older and you realized “yeah, swearing your allegiance to a flag for about 200+ days out of 365 day year in unity with other small children is without a doubt a creepy as fuck activity”
It’s a lot like praying in church. The whole congregation reciting one long memorized prayer. As a child I never understood what I was saying or why I was saying it. As I grew older I just accepted it until I started to weed out the bullshit and see the “light.”
Praying in unison at church is literally the practice of conditioning. And they do it at such a young age and it isn’t right to force beliefs on underdeveloped minds.