Painting weddings for a few years now, I have spent a fair bit of time observing strangers move through a room. Seeing someone new, I always have a feeling of noticing their internal architecture. I did not realize that some people do not feel this way, at least not as intensely.
By internal architecture, what I mean is, when someone talks to me, what I notice first are the supporting beams propping up their words: the cadence and tone and desire behind them. I hear if they are bored, fascinated, wanting validation or connection. I often feel like I can hear how much they like themselves.
I hear the speed at which they metabolize information and the nature of their attention. Attention falls on the spectrum of jumping bean to steady stream. Where it falls depends on a person’s nature, and also how much they want to be in that conversation. Someone’s quality of attention is evident from the questions they ask (how much they diverge from what the speaker is saying), if their gaze is wandering elsewhere, if they are fidgeting, restless. The outlier is dissociation, when someone is noticeably vacant, their attention completely absent.
Sometimes I see their feelings towards me when we talk, but that has the largest room for error in retrospect. Maybe the person I have the hardest time seeing clearly is still myself. I can see people more clearly when I am watching them talk to others.
I watch the person with the loudest laugh. The most striking thing isn’t the volume—it’s the feverish pitch. As the night goes on, it begins to sound more like desperation. Their joy has a fraying quality; it is exhausting to carry because it comes with a desire to seem happy and make others happy at all times…
* “This is, if not a lifetime process, awfully close to it. The writer broadens, becomes deeper, becomes more observant, becomes more tempered, becomes much wiser over a period time passing. It is not something that is injected into him by a needle. It is not something that comes on a wave of flashing, explosive light one night and say, ‘Huzzah! Eureka! I’ve got it!’ and then proceeds to write the great American novel in eleven days. It doesn’t work that way. It’s a long, tedious, tough, frustrating process, but never, ever be put aside by the fact that it’s hard.” – Rod Serling (and here and here)
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As we look, we might send observant birthday greetings to Howard Hawks; he was born on this date in 1896. A key film director, producer, and screenwriter of the classic Hollywood era. Hawks explored many genres– comedies (screwball and straight), dramas, gangster films, science fiction, film noir, war films and Westerns– in films including Scarface (1932), Bringing Up Baby (1938), Only Angels Have Wings (1939), His Girl Friday (1940), To Have and Have Not (1944), The Big Sleep (1946), Red River (1948), The Thing from Another World (1951), and Rio Bravo (1959). His frequent portrayals of strong, tough-talking female characters came to define the “Hawksian woman“. Relevently to this post, Hawks directed Gentlemen Prefer Blondes (1953), which of course, ends with a double wedding.
A close observer of human behavior, Hawks transmuted what he learned into unique, powerful, and wonderfully-entertaining work. Critic Leonard Maltin called him “the greatest American director who is not a household name.” Roger Ebert called Hawks “one of the greatest American directors of pure movies, and a hero of auteur critics because he found his own laconic values in so many different kinds of genre material.”
It’s getting harder and harder to sift the wheat from the chaff– the truth from the misinformation, disinformation, and just plain noise. Here to help, Rocky Parker, with a collection of verification tools– aimed at journalists, but available to us all…
Presenting accurate information to readers is crucial to journalists maintaining trust with their readers. But despite journalists’ best efforts, trust in the media continues to be an issue. The latest American Views report from Gallup and the Knight Foundation found that more U.S. adults have no trust at all in the media (36%) than trust it a great deal or fair amount.
The explosion of AI-generated content on the internet has only added another layer and more complications as readers and journalists work to determine who (or what) created a piece of content and if it’s accurate. And if you’re sourcing story ideas from social media, the recent removals of fact-checking teams from several platforms will make your verification even more difficult.
In light of these challenges… we thought it’d be a good time to round up a few verification tools that journalists should bookmark…
* Stan Freberg’s parody of “Sgt. Joe Friday” (Jack Webb) on Dragnet
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As we confirm, we might might recall that it was on this date in 1941 that Orson Welles’ first feature film, Citizen Kane, premiered at the Palace Theater in New York. A quasi-biography (based on the life of William Randolph Hearst, with elements of those of Joseph Pulitzer and Chicago tycoons Samuel Insull and Harold McCormick), it was nominated for Academy Awards in nine categories, winning Best Writing (Original Screenplay) for Herman Mankiewicz and Welles.
Considered by many critics and filmmakers to be the greatest film ever made, Citizen Kane was voted number 1 in five consecutive British Film Institute Sight & Sound polls of critics, and it topped the American Film Institute’s 100 Years … 100 Movies list in 1998, as well as its 2007 update.
Citizen Kane is particularly praised for Gregg Toland‘s cinematography, Robert Wise‘s editing, Bernard Herrmann‘s music, and its narrative structure, all of which were innovative and have been precedent-setting.
Kane (in his role as owner of The Inquirer): Read the cable.
Mr. Bernstein (Kane’s business manager): “Girls delightful in Cuba. Stop. Could send you prose poems about scenery, but don’t feel right spending your money. Stop. There is no war in Cuba, signed Wheeler.” Any answer?
Kane: Yes. “Dear Wheeler: you provide the prose poems. I’ll provide the war.”
Around half the world’s population live in places that held elections in 2024. Some 1.65bn ballots were cast across more than 70 countries. But while the number of democratic elections in a single year has never been higher, 2024 also brought big challenges. According to the latest democracy index published by EIU, our sister company, on February 27th, global democracy is in worse shape than at any point in the nearly two-decade history of the index.
Since 2006 EIU has scored 167 countries and territories on a scale of zero to ten based on five criteria: electoral process and pluralism, functioning of government, political participation, political culture, and civil liberties. The countries are then grouped into four categories: full democracies, flawed democracies, hybrid regimes and authoritarian regimes.
For the 16th consecutive year, Norway was named the most democratic country in the world, with a score of 9.81. New Zealand and Sweden followed. Afghanistan has been the lowest-ranked country since 2021, scoring just 0.25 points. The biggest change came from Bangladesh, which dropped 25 places. Rebuilding democracy there will be an enormous task after the ouster of Sheikh Hasina, the country’s longtime autocratic ruler. But there is cause for optimism. A temporary technocratic government, led by Muhammad Yunus, a Nobel peace prizewinner, has restored order and stabilised the economy. For those reasons, we named Bangladesh our country of the year in 2024.
The global average dropped to a new record low of 5.17, down from a high of 5.55 in 2015. Just 6.6% of the world’s population now lives in a full democracy, down from 12.5% ten years ago. And a large share of the world’s population—currently two in five people—lives under authoritarian rule.
Despite the promise of a global election extravaganza, some of the ballots were a farce. Polling day in Pakistan, for example, was marred by violence. The most popular politician, Imran Khan, whose own democratic credentials are questionable, was jailed shortly before the election took place. The country’s score dropped from 3.25 in 2023 to 2.84. In Russia another sham election gave Vladimir Putin a fifth term as president—it scored just two points on the index. In other countries—including Burkina Faso, Mali and Qatar—elections were cancelled altogether.
Even Europe—home to nine of the top ten countries in the index—saw some notable declines. France was downgraded from a full democracy to a flawed one. This mostly reflects a deterioration in its confidence-in-government score after president Emmanuel Macron’s snap election in June failed to secure a legislative majority for any single party or bloc. (Four different prime ministers during the course of the year did little to instil confidence either.) Romania was also downgraded after allegations of Russian interference, illegal social-media tactics and campaign-finance violations prompted the constitutional court to annul the presidential election and call for a new vote. In Asia, South Korea dropped out of the full-democracy category after President Yoon Suk Yeol declared—then hastily revoked—martial law, plunging the country into crisis.
America remained a flawed democracy, shifting only slightly from its position in 2023. But it could face bigger problems this year: the first month of President Donald Trump’s second term has already challenged the political independence of the civil service and seen a flurry of executive orders of questionable legal authority.
Mr Trump’s victory in 2024 was part of a broader global backlash against incumbents. The next test for global democracy in 2025 will be how these newly elected leaders choose to govern…
* John Adams, whose own handiwork as a Founding Father has been nicked, but so far evaded the fate he predicted (in an 1814 letter to John Taylor)
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As we batten the hatches, we might recall that it was on this date in 1933 that RKO‘s King Kong premeired. Directed and produced by Merian C. Cooper and Ernest B. Schoedsack, with special effects by Willis H. O’Brien and music by Max Steiner, it received rave reviews, with praise for its stop-motion animation and score… and has only grown in esteem: in 1991, it was deemed “culturally, historically and aesthetically significant” by the Library of Congress and selected for preservation in the National Film Registry. In 2010 it was ranked by Rotten Tomatoes as the greatest horror film of all time and the fifty-sixth greatest film of all time.
Oskar Fischinger, from Allegretto 1936–43 (source)
From Open Culture, an appreciation of an animator who, though never a commercial success in his own time, became an inspriation…
At a time when much of animation was consumed with little anthropomorphized animals sporting white gloves, Oskar Fischinger went in a completely different direction. His work is all about dancing geometric shapes and abstract forms spinning around a flat featureless background. Think of a Mondrian or Malevich painting that moves, often in time to the music. Fischinger’s movies have a mesmerizing elegance to them. Check out his 1938 short An Optical Poem above. Circles pop, sway and dart across the screen, all in time to Franz Liszt’s 2nd Hungarian Rhapsody.
This is, of course, well before the days of digital. While it might be relatively simple to manipulate a shape in a computer, Fischinger’s technique was decidedly more low tech. Using bits of paper and fishing line, he individually photographed each frame, somehow doing it all in sync with Liszt’s composition. Think of the hours of mind-numbing work that must have entailed.
Born in 1900 near Frankfurt, Fischinger trained as a musician and an architect before discovering film. In the 1930s, he moved to Berlin and started producing more and more abstract animations that ran before feature films. They proved to be popular too, at least until the National Socialists came to power. The Nazis were some of the most fanatical art critics of the 20th Century, and they hated anything non-representational. The likes of Paul Klee, Oskar Kokoschka and Wassily Kandinsky among others were written off as “degenerate.” (By stark contrast, the CIA reportedly loved Abstract Expressionism, but that’s a different story.) Fischinger fled Germany in 1936 for the sun and glamour of Hollywood.
The problem was that Hollywood was really not ready for Fischinger. Producers saw the obvious talent in his work, and they feared that it was too ahead of its time for broad audiences. “[Fischinger] was going in a completely different direction than any other animator at the time,” said famed graphic designer Chip Kidd in an interview with NPR. “He was really exploring abstract patterns, but with a purpose to them — pioneering what technically is the music video.”
Fischinger’s most widely seen American work was the section in Walt Disney’s Fantasia set to Bach’s Toccata and Fugue in D Minor [see it here]. Disney turned his geometric forms into mountain peaks and violin bows. Fischinger was apoplectic. “The film is not really my work,” Fischinger later reflected. “Rather, it is the most inartistic product of a factory. …One thing I definitely found out: that no true work of art can be made with that procedure used in the Disney studio.” Fischinger didn’t work with Disney again and instead retreated into the art world.
There he found admirers who were receptive to his vision. John Cage, for one, considered the German animator’s experiments to be a major influence on his own work. Cage recalled his first meeting with Fischinger in an interview with Daniel Charles in 1968.
One day I was introduced to Oscar Fischinger who made abstract films quite precisely articulated on pieces of traditional music. When I was introduced to him, he began to talk with me about the spirit, which is inside each of the objects of this world. So, he told me, all we need to do to liberate that spirit is to brush past the object, and to draw forth its sound. That’s the idea which led me to percussion…
Bonus: an excerpt from Fischinger’s cigarette ad from 1934:
As we appreciate art, we might recall that it was on this date in 1940 (16 days after its single-theater premiere) that Walt Disney’s Pinocchio was released. Although it received critical acclaim and became the first animated feature to win a competitive Academy Award– winning two (for Best Music, Original Score and for Best Music, Original Song for “When You Wish Upon a Star”)– it was initially a commercial failure (mainly due to World War II closing off the European and Asian markets). It eventually made a profit after its 1945 rerelease, and is now considered one of the greatest animated films ever made.
Pinocchio was also a major step forward in animation technique, especially in effects animation, an effort led by Joshua Meador.. (In contrast to the character animators who concentrate on the acting of the characters, effects animators create everything that moves other than the characters—vehicles, machinery, and natural effects such as rain, lightning, snow, smoke, shadows and water.)
… the water effects are the true standout in Pinocchio, representing an artistic achievement that would still be difficult to replicate today. To a certain extent, it was nothing more complicated than good old fashioned hard work: Effects animator Sandy Strother [see here] worked on nothing but water effects for a full year. But in addition to working hard, the animators were working smart: In the open-water scenes, for example, the water toward the back of the frame is less detailed and more impressionistic, allowing the artists to focus on making the foreground as rich in detail as possible.
But as detailed as that water is, it isn’t attempting photorealism; as with the character design, the focus is on how the water should function within the story and the emotional response it should provoke, not replicating the real world exactly. Compare the down-to-the-droplet detail of Pinocchio’s open-water scenes to those of Fleischer Studios’ first entry in the feature-animation game, Gulliver’s Travels. Released only a few months before Pinocchio, Gulliver’s Travels used rotoscoping, which had been developed at Fleischer. While the film’s water looks realistic and imposing, it has a flat, almost geometric look that undermines its visual punch. Whereas the way the water works as Monstro chases Geppetto and Pinocchio’s raft is terrifying and overwhelming, and not especially realistic. This is the power of animation, to mold and morph reality to function as something familiar, yet fantastical…
Fischinger, who was primarily engaged down the hall on his ill-fated contribution to Fantasia (released late that same year), contributed to the effects animation of the Blue Fairy’s wand.
As we give it a rest, we might recall that it was on this date in 1984 that The Terminator was released. Directed by James Cameron and produced by Gale Anne Hurd, it starred Arnold Schwarzenegger as the Terminator, a cybernetic assassin sent back in time from 2029 to 1984 to kill Sarah Connor (Linda Hamilton), whose unborn son will one day save mankind from extinction by Skynet, a hostile artificial intelligence in a post-apocalyptic future. Kyle Reese (Michael Biehn) played a soldier sent back in time to protect Sarah. The screenplay was credited to Cameron and Hurd, while co-writer William Wisher Jr. received an “additional dialogue” credit.
Defying low pre-release expectations, The Terminator topped the United States box office for two weeks, eventually grossing $78.3 million against a modest $6.4 million budget. It is credited with launching Cameron’s film career and solidifying Schwarzenegger’s status as a leading man. The film’s success led to a franchise consisting of several sequels, a television series, comic books, novels and video games. In 2008, The Terminator was selected by the Library of Congress for preservation in the United States National Film Registry.
Linda Hamilton and Michael Biehn taking a break on set (source)
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