These are some degradations of the Facebook thumb I made. When I was naming the files I accidentally typed in ‘thump’ instead of thumb; I sort of liked it and kept the name. The thumps should be approximately the same size as the Facebook thumb. Feel free to use them.
— is your device?
Man the food-gatherer reappears incongruously as information gatherer. In this role, electronic man is no less a nomad than his paleolithic ancestors (McLuhan 380)
Translation, “How dare I get off Facebook.”
But there is this difference, that previous technologies were partial and fragmentary, and the electric is total and inclusive. And external consensus or conscience is now as necessary as private consciousness (McLuhan 86).
This is not a top # list of movies for ’17, but my favorite recent film that I saw on the big screen (it’s flaws aside) was Colossal (which actually came out in ’16). The best viewing experience I had was seeing Vagabond on 35mm during the Olympia Film Festival. The best movie I took a photograph of while watching was Eyes Wide Shut. I hate dissolves as transitions, but I’m rethinking them now (the picture I took is below). The worst movie I saw was Valerian. Though, it was entertaining in an awful way. That translates to the possibility of me still buying it on Blu-ray and using it as a TV screensaver. You can read my reviews of Colossal and Valerian right here on Protozoic. Happy ’18.
Some friends and I have started a retro game “book club” of a podcast, called the Doki Doki Game Club. Continue reading Doki Doki Game Club – Episode 01: Little Nemo – The Dream Master
Because of the forest fires on OR and WA, the light outside at 1:03 PM on 9.5.17 has an unnerving golden tone to it. It’s not apparent from the photo, but seeing it with my eyes, it feels far more ominous and alien than the eclipse.
The key to Beef Stew with a Bite is good bone beef broth. You can use the cheap stuff, but either making it yourself or coughing up some money to your local artisan broth maker results in a rich and most excellent stew. Pepper wise, you can use whatever you want, but I prefer 1 habanero1. This stew does bite, but it won’t offend most people. Additionally, if you aren’t feeding 6 people and are planning on freezing meals, the heat and flavors mellow over time; time is a secret ingredient. Let your stew mellow, man. If you want to dial it up, add 2 habaneros for Beef Stew that Punches You in the Mouth.
- 2 to 3lbs. of beef chuck
- Salt and pepper to taste
- 2 rashers of bacon
- 1 tablespoons of oil if needed
- .25 cup of all purpose flour
- 1 large onion or 2 small chopped onions
- 3 to 4 cloves of minced garlic
- 2 tablespoons of balsamic vinegar
- 1 habanero diced (I leave the seeds in)
- 1.5 tablespoon of tomato paste
- 2 to 3 cups beef bone broth
- 1 to 2 cups of water
- 1 bay leaf
- .5 teaspoon of dried thyme (about 1.5 teaspoons if fresh)
- 1.5 teaspoons of sugar
- 4 large carrots cut into diagonal pieces
- Rice or potatoes (to serve stew over)
Dice the bacon into .5 inch pieces, and on a medium heat, fry it in a large soup pot or dutch oven until crisp. If the bacon is particularly lean, use a tablespoon or so of oil. Though it is less healthy than olive oil, I prefer vegetable oil for stew. Once the bacon is crisp, remove it and set it aside.
Cut the beef chuck into 1 inch cubes. To taste, add the salt and pepper to the cubes and massage in. In small batches brown the beef, remove, and set aside. When browning the beef, try not to let the individual pieces touch each other. This step takes a bit of time, but it is worth doing right.
Add the garlic, balsamic vinegar, habanero, and onion to the leftover beef juices and bacon grease in the pot. While stirring occasionally with a wooden spoon, cook the mix until the onions start to turn clear or for about 5 minutes. Add the tomato paste and cook for another minute or 2 while stirring.
Add the beef and sprinkle it with flour, stirring it until all the flour is absorbed.
Add enough beef bone broth and water until the meat is covered. Add the bay leaf, thyme, and sugar.
Cook for 2 to 3 hours on a low heat.
Add carrots and cook for another hour.
If you like your stew a bit more thick, make a slurry with corn starch or flour and add it to the stew.
Serve over rice or potatoes.
And don’t forget, “Let it mellow, man.”
While I like jalapeños and serranos, they result in a stew that is a shade greener in flavor. ↩
The other day I realized that I never officially posted H.P. Thomcraft’s Game of Pawns. I was always very happy with the way it turned out. I mean, it took freaking yearssss to finish, but it was worth it. The 16mm film looks good and I had a lot of fun doing the sound design.
You can view production stills from the shoot here, and here’s a description, followed by the movie itself.
H.P. Thomcraft sojourns to a cloudy living room in an undisclosed location of the nether-regions/places to weave three hazy tales of mystery and murk while playing a most deadly game of death. “H.P. Thomcraft’s Game of Pawns” is the sequel to the water-logged “H.P. Thomcraft’s Box of Tales.”
The dentistry profession has come a long way since I last had work done. The new trend is to show movies to patients under the drill. Not unlike inflight entertainment, the viewing selections are all somewhere between populist and benign. Does it matter if I watch Paul Blart: Mall Cop two before one?
The anxiety of having my old fillings fixed aside, a different type of anesthetized panic set in when I was shown my viewing options. Was I going to have to watch Pixels (2015) or computer-generated Smurfs flit about the screen while my molars got filled with resin? Cringing at the prospects, I spotted an escape, a title called “TV Cartoon Classics.” “I’ll take that,” I told the dental tech.
The tech stared at the card for an uncertain second and shuffled off. When she returned, she explained that she was unaware that they even had it. “TV Cartoon Classics”, I figured, was no doubt a bunch of public domain cartoons like Herman the Mouse. Over two separate weeks, and two separate visits, I watched all Max Fleischer’s Gabby cartoons (and a couple Hermans).
First appearing as the town crier in the 1939 feature Gulliver’s Travels, between 1940 and 1941 Gabby was given to Fleischer by Paramount to direct1. The odd reference to the Lilliputians aside, the Gabby series has little to do with Swift’s satire, with each cartoon following Gabby, a wisearce with a taste for wise apples, who gets involved in various jobs and activities which he claims to be an expert and proceeds to bungle.
In Fire Cheese (1941), where Gabby becomes a firefighter, flames dance on buildings, blow blazes into each others’ mouths, and lick up the walls in hot ladders. Gabby, meanwhile, proves to be about as useful as Keith Flint giving pointers to Adele. Two for the Zoo (1941), my personal favorite, has Gabby claiming to be an authority on the fictional rubberneck kango, an animal that is a melange of kangaroo, giraffe, and elephant. By the cartoon’s conclusion, Gabby is locked in a cage as potential lion food.
Besides dentists’ offices, a complete Gabby cartoon can also be watched in the first-person shooter video game The Darkness released in 2007. I’m not familiar with the game, but I like to think that Gabby is a favorite of the figure featured on the game’s cover art, a standin for The Downdward Spiral-era Trent Reznor2. I’m guessing, however, Gabby’s occurrence in the game has more to do with irony, entropy, and that which is anachronistic.
In this light, it is probably no great shock that the Gabby animations are all but forgotten. The cartoon is perhaps too quaint and European in its sensibilities. Yet Gabby’s character is relatable and humorous enough; equally the cartoon’s sophisticated animation still shines through the faded public domain prints widely available today. Given the choice between it and the mediocrity of the Paul Blarts of the world, I’d still take Gabby. Hell, I’d take it over The Darkness, too.
In 1955 Gabby was sold to U.M. & M. TV Corporation, which later became National Telefilm Associates, the logo of which appears at the front of many of the available versions of the cartoon today. Later the cartoon would ironically return to Paramount when it was sold to Viacom, the multinational media conglomerate, which today owns Paramount. While Gabby can be purchased on DVD, the cartoons are now in the public domain. ↩
Kaneda and the Capsules arrive at a run down movie theatre hoping to score Valerian, only to discover that Valerian is a sci-fi flick. When they show up, it is debatable if one of them was aware of this and maybe wanted to actually see the movie. Heckling ensues, which quickly boils over into harassment of other theatre patrons and eventually edges into flatout violence and mayhem. This spectral visitant of Akria (1988) and Valerian and the City of a Thousand Planets (2017) keeps rattling in my head. It may well be heresy to fantasize about the anime classic and the hot mess of Valerian in this way, but it’s been hard to shake.
Besson’s Valerian stands as the most expensive French film ever made, costing around $150 million. Its premise follows a McLuhan-like global village that harbors an atrocity at its heart which must be atoned for. Sin and redemption along with some of the more interesting facets of the film, like Rihanna’s Bubble, get lost in the pastel shit-show. My wife likened the movie to an advertisement for a douche… in space, flowery, still a douche, and utterly pointless. Alien princesses pirouetting by vagina conch shells… a lot of the conversation surrounding Valerian has proceeded in these cheeky terms.
No doubt Valerian is destined to provide comic fodder for some time to come, but it is worth remarking on the connections between it and Akira. The films each find roots in comic books that are not of the superhero variety. Though I’ve yet to read Valerian, I imagine that like Akira, the comic is best considered as a separate text rather than an adaptation. Each also stands out in its contemporary big-budget cinematic landscape: Valerian for its euro-trash splash and Akira for its techno-phantasmagoria. Most of all, neither makes a whole lot of sense. In both the plot is obscured: for Valerian it’s all a high kamp kick with Cara Delevingne’s Sergeant Laureline never bothering to break runway strut, while for Akira it’s almost with a relish, a nod to the punk ethos of its Capsules, who in the face of conformity, conspiracy, and corporate-militarism continue to exert their identies and could really give two flying fucks about plot.