Tag Archives: star wars

Things August 2017: Archive Adventures – part 2

Last time I shared the first half of the exciting archive of historic unused Things. In this second half, I’ll cover music, games, writing, and some data visualisation. Enjoy!

Video/Audio

I was collecting examples of music where I felt the production process was the main contributor to the quality of the song (rather than the songwriting or performance), examples being Britney Spears – Toxic, Mark Ronson – God Put a Smile on Your Face, and the Space Channel 5 theme tune. Then I wondered if actually I just like crisp brass and distorted orchestral sounds, and have no ear for production at all, so wasn’t sure whether I could meaningfully comment. But listen to those songs as a set and see what you think!

Putting a record of important sounds from earth in a spacecraft and shooting it out of the solar system is pretty speculative (although I’d argue we don’t know enough about the parameters in the Drake equation or the full potential of technology in this universe to know just how speculative) – but is also a profoundly optimistic and beautiful act, so I’m really glad we did it.

Some trivia that hilariously undermines the beauty of the gesture: EMI refused permission for The Beatles’ “Here Comes the Sun” to be included; and the engravings showing what humans look like (naked) were actually censored and therefore inaccurate.

Copyright issues have always made it challenging to listen to the full Voyager track listing on earth, but the copyright-subverting hydra that is YouTube solves this problem, and I highly recommend making time to appreciate the playlist.

And this just in, with a title that sets expectations perfectly, another candidate for music-to-share-with-the-galaxy: Duel of the Fates on Trombones

Games

I previously wrote about game-maker Jason Rohrer in Things 121 (specifically on Chain World, a game intended to become a religion). In 2014 he released The Castle Doctrine, a game about gun-ownership through the medium of PvP house-security design and burglary. Players design a secure ‘house’, with the restriction that it must be possible to break into without tools; they then try to break into other player’s houses to steal loot, and then store that loot in their own house and hope their design keeps other thieves out. Total loot owned is public, so a nice feedback loop emerges where a more successful player will attract more burglary attempts.

The challenge for such a game design is you need to come up with creative opportunities and restrictions that will emergently lead to players creating a huge range of fascinating house-designs. I particularly enjoyed the systems-design reasoning at work in Rohrer’s post on some of the design changes he had to make in response to players converging on clever (but boring) solutions.

In mobile games, the mind-bogglingly successful Clash of Clans (and its many clones) operates on a similar basis with (very) light real-time-strategy gameplay, but the strategic variety seems ultimately quite weak. I’m more impressed by King of Thieves, also operating on the same idea but with single-screen platformer gameplay. It’s free, so if that sounds at all interesting you should check it out (on iOS and Android). Unfortunately the late-game becomes about pixel-perfect jump timing which is a bit less fun.

Self-improvement

I can’t remember what I was thinking when I added this link, but perhaps that in itself is telling: Kottke’s extract from an Adam Phillips interview, “The need not to know yourself“.

I suspect that procrastination is a challenge for a large number of people, and found that Quora has a collection of highly upvoted answers. I personally found the best approach is a mixed strategy: trying lots of things in sequence. So this is a good place to go to find lots of ideas.

Writing, Data Visualisation, Everything Else

A good long read is, these days, the closest I get to the escapism of a good novel: a chance to inhabit and explore another world-view. If you’re the same, you’ll probably enjoy this long article on novels, tragedy, comedy, and religion on two levels. Sample quotes:

“the invention of the novel privatised myth, because the novel, invented after Aristotle, did not have a holy book. The novelist was on his own. Sometimes he’s even a she. There were no rules.”

“As they became professional, writers began to write about writers. As they became academicised, writers began to write about writing.”

“You may think that to praise The Simpsons at the expense of Henry James makes me a barbarian. Well, it does, but I’m a very cultured barbarian. The literary novel has gone late Roman. It needs the barbarians.”

There was an article about a trend online to use “?” where formal writing used a hyphen, for example:

“The greatest pleasure of all – the categorisation of minutiae.”
“The greatest pleasure of all? The categorisation of minutiae.”

I felt that captured something I’d seen and been annoyed by, and figured I would collect some examples. I guess shortly after that I just started to accept it and didn’t collect anything, and then couldn’t find the original link, leaving this a bit of a non-thing. Although I think the fact I abandoned it is at least somewhat interesting.

Unremembered by present me, and unexplained by past me, the Things archive includes a link to the Tableau product support page.

Here are some fascinating maps on the distribution of blood types.

And finally, a superb example of giving insight into long-term trends using well-designed data visualisation: The Great Prosperity (1947-79) and The Great Regression (1980-2009)


(Click for full version)

- Transmission finally ends

Things December 2015: Star Wars Special

As you may recall from Things 43, I’m a bit of a Star Wars fan.

So in terms of Things I found interesting in December, there was really only one. If you hate Star Wars I’ve got one other Thing for you below, a bit more music, and then it’s wall-to-wall Space Opera. I’ll save spoilery stuff until the very end and give fair warning.

Meine Schmusedecke / Patchwork Pals

At the Edinburgh Film Festival in 2010 (which I wrote about in this Things special), one of my favourite short animations was Lebensader by Angela Steffen. Last year at the DOK Leipzig film festival I was pleased to recognise her hand in a series of very short children’s animations about the adventures of some animals on a patchwork quilt.

There is an English dub, but I most enjoy the original German – I don’t know the language, but that’s what I like about it: the context and certain similar-sounding words make it a lot of fun to guess what’s going on. It’s about 3 minutes, and you should at least stick with it until the fox shows up:

Things Updates: Music and Dialogue

In Things November 2015 I quoted Dennett’s recommended method of dialogue, which involved carefully identifying areas of agreement, disagreement, and accurately re-stating your opponents position before attempting to debate it. Tarim wonders if this is inspired by “Buberian Dialogue” (pdf link):

The emergence technique proposed herein is sometimes called “Buberian dialogue.” The technique calls for two discussants, a moderator and an audience. The discussants each say their initial piece. It is the role of the audience to listen for what the two discussants have said or implied which might be in common. The audience is called upon to inform the discussants of these commonalities (which the moderator captures on a white board) and then for the discussion to turn to the revealed items. This occurs through three or more rounds. The aim is for a transformational experience. There is no effort to reach consensus or conclusion. Rather, the goal is for a transformation to take place in how the discussants view each other in the context of the debate. If a more human based respect emerges, the technique is successful.

Just imagine a political debate taking place through this form!

Tarim also adds his nominations for notable musical reworks (which began in Things with covers, reworking in general, and other examples from Things readers), while noting that unfortunately most of his favourite covers are those he heard live:

(also)

Frank Zappa’s takes on Bolero and Stairway to Heaven:

And finally Far-Cue, a “3 piece punk band who do notable versions of: Mike Batt’s Remember You’re a Womble, Motorhead’s Ace of Spaces and Bach’s Toccata and Fugue.” Youtube videos exist, but “they just don’t capture the essence of Far-Cue” – which I can well imagine!

So what is this ‘Star Wars’ thing anyway

I grew up with Star Wars, and it’s now so much part of the cultural furniture that it’s quite hard to see what it really is.

Strip away what you already know, and think about how odd it is to launch a franchise with ‘Episode IV’. So odd that Fox didn’t allow it, and it was just ‘Star Wars’ until George was allowed to change it for the 1981 re-release (and of course he’s continued to change the films whenever he has the chance). This is just the most telling sign of what Lucas was trying to do: recreate the adventure-serial movies he enjoyed in his youth, in which you would usually be encountering a random episode and hearing talk about back-story you knew nothing about – “You fought in the Clone Wars?!” The other biggest clue is that he had first tried to get the rights to make a Flash Gordon movie, and being unable to get them, decided to just make his own thrilling space adventure instead. (As if annoyed how many people don’t realise this, Lucas mentions it repeatedly in all of the commentaries on the most recent DVD/Blu-ray release!)

The best modern analogue for what Lucas was doing is probably Robert Rodriguez’ Planet Terror, in which Rodriguez tries to make an exploitation B-movie as good as he always wished they were.

This is all very reasonable; the really weird part is how ridiculously successful it was. Here’s the US box office of the top 10 grossing movies in the 5 years running to 1977:

In 1975 Jaws was an outlier, a freakish break-out hit… and then Star Wars almost doubled Jaws’ US domestic takings. Worldwide, across all re-releases and adjusted for inflation, ‘Star Wars’ (aka Episode IV or A New Hope) is second only to Gone With the Wind, which came out in 1939, when 45% of the US population went to the cinema weekly, as opposed to 1977 when that figure was down to 10% (pdf source). Incredible.

I personally think three main factors helped Star Wars achieve this excessive success.

Generational Nostalgia

It seems for various reasons that people have their greatest ability to create influential cultural works between the ages of 30-40. That age group also commands a large amount of the money going to entertainment: those without children are at a peak ratio of earnings to needs, those with children will spend to entertain the whole family. This means entertainment that resonates with the 30-40 year-old generation can prove disproportionately popular, and nostalgia for their youth is a good approach. (When you enter this age group yourself, the first sign is that shops start playing the pop music of your youth).

Back to the Future  went back from 1985 to 1955; Hairspray, The Wonder Years, Grease, Happy Days, and perhaps most nakedly That ‘70s Show all did a similar nostalgic leap. So in 1977 an audience existed that, like George Lucas, was nostalgic for the adventure serials.

This is also why we see favourite movies of the 80’s coming back 25-35 years later with sequels or remakes: Alien, Terminator, Robocop, Total Recall, Ghostbusters, Rocky, and Indiana Jones to name a few of the biggest.

Hairspray actually benefitted from the effect twice (set in 1962, made in 1988, remade in 2002). Star Wars has arguably benefitted three times: the initial adventure-serial throwback, and then the prequel trilogy and (just about) sequel trilogy each resonating with the generation that grew up with the previous Star Wars movies.

The Hero’s Journey

Aka the Monomyth, this is a story structure George Lucas studied and then consciously followed with Star Wars, and is one of the most popular story types that exist. Whatever else is going on, with this at the core you have a very strong narrative hook.

Execution

Episode IV’s script is weak: “This bucket of bolts is never going to get us past that blockade”, “Boy, it’s a good thing you have these compartments!” The pacing is also weird – at age 7 a friend and I were playing with our Star Wars toys when we realised we could watch the movie on VHS; after about 20 minutes we got bored and went back to the toys.

But apart from that (!), much of the execution is really incredible for the time. For one thing, Lucas founded a special effects company and a sound company that were each so successful they remain leaders in their fields even today. Relatedly, I suspect Ben Burtt’s sound design in particular elevated the film dramatically above other genre fare of the day (lightsabers, Vader’s breathing, blaster bolts, alien languages, background hum on ships… hundreds of convincing, world-building sounds in a single film).

How do you follow the most successful film in a generation?

Lucas found directing Star Wars incredibly stressful. With so much success, the world’s expectations would make directing a sequel even worse. I also suspect he knew a sequel would be held to a higher standard, and this adventure-serial schtick was going to wear thin. The one thing he had going for him was that the arc of the Hero’s Journey had plenty of life left. So he brought in a different director, got some pretty good script-writers, and took a back seat.

After seeing Star Wars films frequently throughout my life, it was only after a 5-year hiatus that I could re-watch them somewhat afresh as an adult, and realised that The Empire Strikes Back really is a step up in quality. Return of the Jedi then concluded the Hero’s Journey beautifully and assured Star Wars a long-lasting place in the minds of a generation.

In light of all the above, the seemingly weird prequels make a lot more sense. With financial security behind him, Lucas was able to get back to doing what he really wanted: adventure serial movies, complete with cheesy lines, melodrama and slightly wooden acting. I think the prequel trilogy is just the kind of movie Lucas wanted to make all along, and he actually got better at achieving that rather than worse.

I suspect the greatest problem for the prequels was that they’re not doing the ever-popular Hero’s Journey, but rather some sort of rise-and-fall tragedy, which the nuance-free adventure serial form is terrible at supporting.

The Force Awakens (no spoilers yet)

Which brings us to The Force Awakens. Back in 2005, after queuing for 16 hours, I got a ticket for the first 6-film Star Wars marathon and world premiere of Episode III: Revenge of the Sith at Leicester Square (showing the Original Trilogy and then the Prequel Trilogy, in order to save the newest addition until last).

At the end, George Lucas came over from the more star-studded premiere that had taken place in the nearby Odeon, and addressed the crowd. He was quickly drowned out by a chant that spontaneously arose from the fans: “We want nine! We want nine!”

Lucas calmed the crowd, and answered the request with these words I can still hear now:

“Star Wars is the story of Anakin Skywalker. It begins when he’s 9… it ends when he’s dead… there is no more story.”

(The BBC reporter recorded slightly different wording).

[Update – I rediscovered the recording I made of that intro! Perhaps unsurprisingly, the BBC reporter’s wording was closer than my memory – T.M. 16th April 2017]

As we now know, Disney thought there was at least $4bn more story, and they’re set on proving it, with new Star Wars episodes and spin-off films planned for every year from 2015 – 2020.

With all that history and no more Hero’s Journey story arc, how could Disney possibly satisfy the expectations of three generations of fans?

Well, that looks quite plausible. I particularly enjoyed the way a seemingly new and haunting piano progression evolves into a familiar theme – Han and Leia’s love theme in fact, which is a particularly apt choice following the end of Return of the Jedi.

At the time of writing, The Force Awakens has set the record for (unadjusted) US Domestic box office, and more impressively is at number 15 in the worldwide inflation-adjusted box office, putting it ahead of The Phantom Menace, Return of the Jedi, and just about on track to overtake The Empire Strikes Back, which would make it the most successful Star Wars film since 1977.

So that seems to be working.

I would say The Force Awakens has three major elements which could be ‘spoiled’, so is well worth trying to see with as little knowledge as possible. If you haven’t seen it yet, you should really do so before reading the rest.

Here’s a video to make it less tempting to read on:

The Force Awakens: True Successor or big-budget Fan Fiction? (SPOILERS!)

Over the first half an hour of the film I alternated between feeling that scenes, characters and designs were either not Star Wars enough, or just too much like old Star Wars. I finally realised I was holding the movie to an impossible standard, and substantially enjoyed the rest of it.

But by the end, it was undeniable: The Force Awakens looks a lot like a remake of 1977’s A New Hope. To try to make that assessment more fairly, I picked the most important 10 story elements from each and put them side-by-side:

Episode IV: A New Hope Episode VII: The Force Awakens
Opening arc of The Hero’s Journey Opening arc of The Hero’s Journey
Scrappy underdogs vs. Fascist Military Scrappy underdogs vs. Fascist Military
Destroy planet-scale superweapon Destroy planet-scale superweapon
Death of the mentor Death of the mentor
Protagonist triumphs through skill and faith Protagonist triumphs through skill and faith
Males free female from captivity Males free female from captivity (subverted)
MacGuffin in a droid: superweapon plans MacGuffin in a droid: location of old hero
Escape from a death trap Male frees male from captivity
Triumphant return of a protagonist Bad guy turns good
Conclude with award ceremony Conclude with ambiguous meeting with old hero

So that’s 50% alike, 20% related, 30% new.

I can’t help wondering if this was actually the master plan: take the structure of the most successful of the series, add a scriptwriter of the most well-regarded, have the original cast pass the baton to the new, and laugh all the way to the bank. It seems to have worked.

In terms of style, I was very pleased to find it kept my favourite things from all of the Star Wars films: the adventure-serial (more mysterious back-story), family melodrama, and a script much more like Empire than any of the others (which makes sense, given Lawrence Kasdan’s involvement).

Let’s Get Nerdy (MORE SPOILERS)

Finally, as a Star Wars fan I can’t leave off without addressing some of the questions people tend to ask immediately after seeing the film.

How did Kylo Ren get beaten by amateurs?

The movie goes to extraordinary lengths to show Chewbacca’s bowcaster as some kind of devastating superweapon. Kylo Ren then gets shot with it, and the movie emphases his heavy bleeding and difficulty with the wound. Meanwhile it’s fair to assume Finn has some training in melee combat, and so is able to slightly injure Kylo’s sword-arm before being beaten. This means when Rey enters the fight, she’s fresh, and has been demonstrated capable in melee combat, while Kylo has two serious injuries!

How can Rey be so good with the Force so quickly?

I wondered this while watching the film, but it’s worth benchmarking. Anakin could drive pod-racers at inhuman speed at age 9, and demonstrated some sort of telepathy / far-seeing (in Yoda’s simple test) with no training. Luke deflects three blaster bolts while blindfold on his second try, uses the force to make a missile shot that was ‘impossible, even for a computer’, and later extracts a lightsaber from ice, again with no formal training.

By contrast, Rey does a Jedi mind trick on her third go, and beats Kylo Ren in a lightsaber summoning contest; in the latter case we again have his injuries to consider, and she was also pulling in the same direction as him.

Why did R2 take so long to wake up?

This requires some mumbo jumbo about R2 taking a while to process the information of BB-8 returning with the map piece and to come out of hibernation. The real reason is if he woke up immediately, it would create a difficult story-fork between fighting Starkiller Base and seeking out Luke.

Where are these planets relative to one another in the galaxy?

It’s unclear how Starkiller Base can really be “aimed” at another solar system, but apparently it can. We’re told it can somehow shoot through hyperspace, hence the ability to hit something light-years away. Dramatically less justifiable is that in a completely separate solar system, it’s possible to look in the sky and see the beam traverse and hit several planets in real time.

The only ‘explanation’ is that Star Wars is fantasy, not science fiction: planets are simply locations that are ‘far apart’, hence their uniform environment and the fact that everything that takes place on a planet seems to happen in one very small part of it. The worst offender in the original trilogy was arguably Empire, in which the Millennium Falcon apparently travels between two solar systems without a hyperdrive in a matter of weeks.

Who is Rey?

Child of Solo and Leia? Seems very weird they did not mention her when discussing their past troubles in The Force Awakens.

Grandchild of Kenobi? Seems very weird given that in Empire it is Kenobi’s ghost who says “That boy is our last hope” and Yoda who says “No… there is another”. Unless Yoda followed up with “Oh, and didn’t you also have a kid at some point, how are they getting on?”

Child of Skywalker? It seems insane he would abandon her with no training, and the whole bit with Kylo turning to the dark side and disrupting things comes much later.

In terms of trying to second-guess the series, I think it’s worth remembering that A New Hope set up Empire’s surprise-parentage twist by explicitly lying about it! As reliable old Ben told Luke, “A young Jedi named Darth Vader […] betrayed and murdered your father.”

So, and as usual: trust no one.

- Transmission finally ends

Things 120: Olly Moss, Benjamin Franklin Effect, A Difficult Person

Pictures – Olly Moss
Sometimes, as you browse the internets, you get a lovely moment in which you realise the person that made this cool thing you are looking at is the same person that made that other cool thing you remember from a while ago. You check out the rest of their work, and if you haven’t already, probably think about whether it’s worth following their output more closely.

I recently had that, except it turns out that Olly Moss is behind at least six different things (or sets of things) I had admired in the past:

Clearly, they share a certain graphical elegance and pop-culture-ouvre, and in the end the coincidence isn’t that huge, because he’s most likely closely followed by one of the aggregators of content that I browse, although I do recall seeing at least three from reasonably independent sources, so I remain quite amazed.

In short, do go have a browse of his projects. There’s lots more great stuff there.

LinkThe Benjamin Franklin Effect
Summed up nicely at the start:

The Misconception: You do nice things for the people you like and bad things to the people you hate.
The Truth: You grow to like people for whom you do nice things and hate people you harm.

It’s not a totally airtight case, but the article weaves anecdote with data nicely, the results are certainly very suggestive, and I recommend that you read the whole thing.

Quote – A Difficult Person
What I would like to do now is present you with a quote which, out of context, is rather dry and uninteresting, which would be a rather pointless thing to do, so instead I will first attempt to provide you with that context, in the hope that the quote will then seem to you just as striking and memorable as I found it to be. So bear with me here.

In Face of the Crime, or in the original German, Im Angesicht des Verbrechens, arguably better translated as “Face to Face with Crime” or perhaps “All up in the face of crime”, was described by a friend-of-a-friend as a kind of Berlin-based version of The Wire, and unfortunately it isn’t, as the characters are much less engaging, and the realism level far lower, even when one ignores the strange touches of what I guess people would call magical realism. That’s not to say that it’s bad, I actually found it rather interesting in its own strange way, it’s just a matter of setting one’s expectations accordingly.

If you think that sounds promising, and if you are the kind of person that avoids any spoiler for something you might later watch, no matter how small the detail or slim the chances of you watching it, then you may or may not choose to watch the trailer below (which is in German without subtitles and is somewhat NSFW) to further firm up your opinion, and based on that you may prefer to skip straight past this section to the puzzle bit below; but just so you know, as spoilers go, where 1 is inconsequential and 10 is The Sixth Sense, I’d put this at a 3.

So, we have someone I’ll describe as our hero, a straight-laced fellow who rarely betrays emotion, and is just trying to do the right thing, which is tough when you’re a cop in a crime drama with some back-story and Damoclean family tension hanging over you. One gets the impression that you’re supposed to root for him, on account of his moral rectitude, but it’s a little hard to do so, since he mostly does what is expected of him, and just occasionally does something else, but without getting remotely emotional about it.

Meanwhile, there is the heroine, who has a powerful vision of the hero’s face while swimming in a lake (and we know it’s a powerful vision because it gets repeated in the recap at the start of almost every episode), and whom it is strongly implied is destined to meet and presumably fall in love with said hero. She’s got a lot of common sense and a goodly amount of agency, but occasionally must put those things to one side in order to allow the plot to proceed, presumably because she realises that one way or another this will ineluctably lead to her destiny with the hero.

I don’t consider it much of a spoiler to say that they eventually meet, and we know and they know that something magical and destiny-related is happening, even though they’ve barely spoken to one another at this point, and despite the fact that the heroine seems to be all about hope and destiny while the hero is clearly married to his job and gives the impression that truly loving somebody would probably be beyond his emotional register.

I no longer remember the exact details, but there comes a slightly awkward conversational moment, and the heroine’s eyes flicker just slightly, and you can see that while she knows this is her chap-of-destiny, it might actually be that he’s not the best potential partner one could possibly imagine, and she suddenly says, quite bluntly (according to the subtitles):

Could it be that you are a difficult person?

Answer – Climb and Descent
Last week I asked if there was a single time on both the day of ascent and day of descent at which Joss Whedon could be found at the same altitude, given that he began both journeys at midday and ended them at midnight. A nice way to see that the answer is clearly yes is to imagine both journeys happening simultaneously, in which case there must clearly be a time at which the ascending Joss Whedon crosses paths with the descending one.

Perhaps more convincingly, you can draw the answer, as Richard describes:

Trivially proven by drawing two overlaid graphs of altitude vs time.  One line goes top-left to bottom-right, the other bottom-left to top-right.  Short of teleporter accidents, the lines have to cross at some point.  Read off the time and altitude to find where/when.

That was Level 1. Here comes Level 2:

Puzzle 2A – Temperature Pairs
Continuing the series of puzzles Tarim recently introduced me to…

Imagine a straight line that starts anywhere on the surface of the Earth, passes down through the centre of the planet, and comes back out on the opposite side. We take the air temperature at each end of the line. Now imagine rotating that line about the centre, describing a ~circular route of places on the earth’s surface that are all directly opposite one another, and we continuously record the air temperature of those places all the way around (and we do all of this, somehow, in a single moment in time).

(You might also like to imagine that this is all happening in some idealised abstract space where we don’t have to worry about the fact that this entails taking an infinite number of temperatures with infinite precision; I’m just painting the picture in this way because it’s the most convenient way I can think of).

The question (which you might have anticipated if you were trying to see the parallels with Climb and Descent) is this: will there be a position of that line for which the air temperature recorded at each end is exactly the same?

Given the parallels I’m drawing with the last puzzle, you’ll probably be thinking that the answer is yes. But can you prove it?

Puzzle 2B – Temperature/Pressure Pairs
Perhaps that was too easy, so instead consider this: what if we measure both air temperature and pressure at each end of the line, and we consider every possible pair of points on opposite sides of the Earth. Will we be able to find a point that is at exactly the same air temperature and pressure as its opposite on the other side of the Earth?

Trivially proven by drawing two overlaid graphs of
altitude vs time.  One line goes top-left to bottom-right,
the other bottom-left to top-right.  Short of teleporter
accidents, the lines have to cross at some point.  Read off
the time and altitude to find where/when.

Things 50: Portal, Legalising Street Racing, Supply and Demand

(Originally sent June 2009)

An unusually long multi-lunch-break-requiring Things in unintentional celebration of hitting 50…

Things blog update
My attempts at setting up two WordPress blogs from a single database failed. I will see if I can set up a second database instead for a Things blog, in between revising for my IDM exams.
[Ultimately, that’s exactly what I did. – T.M. 28/5/11]

Film
Yesterday I saw Sam Raimi’s Drag Me To Hell. It was an extraordinary experience that is difficult to describe – imagine the kind of inventive unpleasantness that happens to Wile E. Coyote applied to supernatural horror, maintaining some of the comedy aspect, and you begin to get some idea. The trailer sets out the premise very clearly but dramatically underplays the scares:

IMDb rating: 8.2
Rotten Tomatoes aggregate: 95%

Videos
This week I finally got around to playing Portal, a short but brilliant game which, for me, achieved the astounding feat of living up to its own considerable hype. Even if you’re not a gamer, the trailer is worth checking out just to see how nifty it is:

If that doesn’t float your boat, here’s a video of a cat that jumps into and out of a tall box. 1’19” is where the best jumping starts happening:

Link
In a fascinating case study for debates on the merits of legalising/criminalising things, police in Florida have been running legal street races in which, for $25, people can attempt to “Beat the Heat”. They claim that given this controlled and safer outlet, they have seen a drastic reduction in illegal street racing.

[Original link is broken, the story is repeated here though – metatim 28/5/11]

[Okay, that link broke too, try this one – metatim 03/08/15]

Quotes
Gavin Potter, a leading entrant for the NetFlix Prize (see this wired article) said:

“The 20th century was about sorting out supply. The 21st is going to be about sorting out demand.”

In other words, by solving problems of supply (think of all the information/products/services available to you via the web), we create a new problem related to demand – how do we sort through all this stuff?

I saw this articulated in the supermarket last week. A child had clearly been sent to pick up some juice, but was just staring at the shelving three times his height stocked with perhaps a 100 variations on fruit juice. His father turned up and asked what was wrong, to which the child replied with palpable desperation: “I can’t find any fruit juice!”

Picture
Here is a lovely graph demonstrating the relationship between Star Trek‘s warp speeds and energy requirements:

On a side note, in Star Trek the ships generate a bubble of distorted space around the ship, which to an outside observer means the ship appears to elongate as it sets off at warp speed. In Star Wars the ships instead enter hyperspace (warning: no basis in science), a kind of parallel universe in which distances are shorter / the speed of light is faster, so no elongation occurs.

Criminally, warp elongation was added to ships entering hyperspace in the Star Wars special editions.

This Week’s Puzzle: Buttons
Why are buttons on clothes for males placed on the opposite side to buttons on clothes for females?

Last Week’s Puzzle: Newspaper Eyeball Value
Last week I asked (roughly speaking) why newspapers are complaining about the internet when many have successful online sites with ads alongside articles just as in the print versions. I received some detailed responses and there’s clearly a lot more research that could be done, but here’s some of the main points:

1) Actually the main newspapers in the UK seem to be perfectly fine, with stable or even growing circulation figures. As JB put it: “I think alarm bells are being rung by consumers that don’t like the net and shareholders with unreasonable expectations!”

A corollary – in a blog post that could desperately use some editing, an argument is made that the important part of a newspaper is not the news (a commodity) but the package and the curation, somewhat consistent with the Gavin Potter quote above.

2) Newspapers cost money to make and to buy. The website version costs a certain amount of money to make but scales much more cheaply, and is free to the consumer. Depending on the scale and margin of each branch, this will give very different results for any given newspaper.

3) Demographics. With TGI I can see that the median age of the most regular newspaper readers (top 2 quintiles) is about 17 years older than the median age of those that regularly visit newspaper websites. The rule of thumb is that who sees your ad has the strongest effect on how well it does (over and above the offer or creative itself). Still one would expect that better targetting leads to better results, and if anything the splitting up of the audience should make targetting easier and hence more profitable.

4) Visibility. Since people get web content for free, they have less invested in it, so are unlikely to read it as attentively (A study suggests people typically read 20% of the text on a web page). Online ads can be blocked, newspaper ads can sit around the house for some time, paper is still easier on the eye than screen, people are more likely to be multi-tasking online… and many other factors similar to this exist.

There are many other arguments and deeper points to be considered about the above, but I would want to be more sure of the data before claiming to have an answer. I may revisit this topic with a more detailed investigation at some point on my blog.