"The implosion of Lost was like a dirty bomb that made the world unsafe for serial dramas to this day.” I don’t agree with the article's “I-want-my-tv-meticulous-and-rational-in-their-mysteries-and-nothing-else-counts” judgement of Lost, but it’s still a cool sentence. And if you change “implosion” to “explosion,” it is true, although not in the way that the author intended.
China Mieville on the World Fantasy Award, which is, technically, a head of H.P. Lovecraft, a writer known for his noxious racist views:
So where does that leave the World Fantasy Award? Well, in my case, I have always done something very specific and simple. I consider the award inextricable from but not reducible to Lovecraft himself. Therefore, I was very honoured to receive the award as representative of a particular field of literature. And the award itself, the statuette of the man himself? I put it out of sight, in my study, where only I can see it, and I have turned it to face the wall. So I am punishing the little fucker like the malevolent clown he was, I can look at it and remember the honour, and above all I am writing behind Lovecraft’s back.
There are many good things and probably a few not-so-good things I could say about it, but one thing is certain - it is a loving testimony to the magic of cinema. It was touching. And all three of us (Melissa, Rob, moi) were fooled - that actress is NOT Sigourney Weaver.
Speak plain he said But didn’t see He acted that way And held me like a cup Fill me up then pour me out Therein lies the doubt. We had the same feelings At opposite times.
When a good man and a good woman Can’t find the good in each other Then a good man and a good woman Will bring out the worst in the other The bad in each other
But what and how To find us now When we’ve become two Fluorescently blue Down the neon river The sadness canoes Either without or with her
When a good man and a good woman Can’t find the good in each other Then a good man and a good woman Will bring out the worst in the other When a good man and that good woman Can’t find the good in each other Then a good man and a good woman Will bring out the worst in the other The bad in each other.
Several days ago, I watched Sophie Coppola’s Marie Antoinette (2006), Lars von Trier’s Melancholia (2011), and Lech Majewski’s The Mill and the Cross (2011) on the same day - each mind-blowing and impressive in their own way (not to mention weird casting overlaps between all three).