Biggest hit of the Browning-Chaney pairings. Burned alive in a 1967 vault fire. So alluring it's been reconstructed from production stills.
Jack (and Suzy) write a little op-ed piece in the WSJ admitting they're addicted to corporations for pleasure. For breathing, for eating. Read between the lines and start to realize, the new age of the CEO has turned transhumanist to a wide degree. Dangerous times ahead if this becomes our latest sociobiological path
Here's a quote from their dimension of the galaxy, the intro fools us by agreeing with detractors, a simplistic argumentative employed best by demagogues:
Here's a new party trick. Want to be accused of being a member of a satanic cult? Like to be called the kind of person who would steal candy from a child, or harm a puppy and start a forest fire—all in the same day? Do you want to be described as evil, heartless and stupid?
Then just do this: Offhandedly mention in public that you agree with Mitt Romney—and that, yeah, you think corporations are people.
Oh, how that notion sets some people right off their rockers! Take, for instance, the scene last month when senatorial candidate Elizabeth Warren introduced President Obama at a big fundraiser in Boston:
The Guardian on Televisa's role in electing the favorited P.R.I. candidate in the upcoming national election. Their exclusive:
Televisa refused to meet the Guardian to discuss the allegations. It first ignored requests for comment, then proposed a meeting with legal counsel present. When the Guardian submitted a list of eight questions with a small sample document attached, a spokesman cancelled the meeting, saying the documents had not been not been submitted in a "timely" fashion.
Top: With the Curios, Bottom: In the Studio (1909)
From the Wm Cody Collection
Life isolated on islands adapts differently than those on continents. From Carlquist's Island Life.
Widely known to have beat the west into space, the Soviets could also claim another first: movies. Though buried from view during the cold-war, the first feature film on Earth about space travel is the U.S.S.R.'s Aelita: Queen of Mars. Filled with tools invented by Griffith, Aelita cross-cuts between planetary infidelity and socio-political contrasts. Clever touches are legion. A shimmering capitalist Martian city is reigned over by Aelita and ruled by elders who demand the refrigeration of one-third of their workers (they tell her: "you reign but we rule"). This Mars is a constructivist fantasy version of the west, its sets and costumes are an astounding series of vortexes and skeletal extensions. There's no doubt Aelita influenced Lang's Metropolis. Back home in a newly formed U.S.S.R., a scientist plans his trip to space with blueprints of a pod-shaped vessel. The film opens with a mysterious three word message heard round-the-world, and our communist hero plots his escape velocity. To hold court in the revolutionary atmosphere of Moscow, the film intercuts fidelity problems, secret balls of oligarchs in hiding, returning soldiers from the revolution and a police procedeural sub-plot to ensnare first an abuser of rationed sugar, then the murder of the heroine. Both ahead of its time and behind, weakened by needless but fascinating propaganda. Rarely projected, part of the Berlin Film Festival 2012 and MoMA's series built around the Soviet's first film studio: Mezhrabpom. A must-see for any student of sci-fi. Last showing is Friday April 20th at 7pm. Museum admission and films are free Fridays after 5.