showbiz

‘Dogs never bite me. Just humans.’ –Marilyn Monroe

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{ Marilyn Monroe poses naked in bed for photographer Douglas Kirkland on the evening of November 17th 1961 in Los Angeles | more }

On your last day on earth, the person you became will meet the person you could have become

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I have found that most of us who want to act or write or make music or paint things or sculpt things are trying to remember, re-create, share, and pitifully hold on to a particular memory or memories that allowed us to continue living with some comfort. In everything I’ve done as an actor, I want to tell people, somehow, how it felt to feel my mother’s hand on my forehead when I was sick. I want to tell people how it felt when I protected my mother from my father’s rage. I want to tell people how it felt–how it changed my life–when my sister came to my aid, over and over again. Art is autobiography made flesh. Art is sending the message that life has merit, that people have merit. I think we should see things that make us all want to go out and live better and share the good things we have seen. I think we should, without ever meeting, let it be known that we are here to support and protect each other.

{ Marlon Brando, Interview conducted by James Grissom by telephone, 1990 }

oil and acrylic on canvas { Sebastian, Haslauer, Thug Life, 2012 }

‘Nous avons exagéré le superflu, nous n’avons plus le nécessaire.’ –Proudhon

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{ Sergei Eisenstein, On Disney )

Tony: [to Lady and Tramp with an Italian accent] Now-a, first-a we fix the table-a.

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related { Disney Plus warns users of ‘outdated cultural depictions’ in old movies }

To the stars beyond the blue, there’s a Never Land waiting for you

5 On Your Side

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movies and shows have been using the fake 555 numbers since as far back as the 1950s. […]

The number 555-2368 has risen to particularly rarefied air […] dialing 555-2368 will get you the Ghostbusters, the hotel room from Memento, Jim Rockford of The Rockford Files, and Jaime Sommers from The Bionic Woman, among others. […]

Since 1994, 555 numbers have actually been available for personal or business use. […] except for 555-0100 through 555-0199, which were held back for fictional use.

{ MentalFloss | Continue reading }

‘Not necessity, not desire, the love of power is the demon of men. Let them have everything, they remain unhappy.’ –Nietzsche

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{ while ordinary people are struggling, those at the top are doing just fine. Income and wealth inequality have shot up. The top 1% of Americans command nearly twice the amount of income as the bottom 50%. The situation is more equitable in Europe, though the top 1% have had a good few decades. | The Economist | full story }

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{ Netflix performance burns hedge fund short sellers }

jangled through a jumble of life in doubts afterworse

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Size has been one of the most popular themes in monster movies, especially those from the 1950s. The premise is invariably to take something out of its usual context–make people small or something else (gorillas, grasshoppers, amoebae, etc.) large–and then play with the consequences. However, Hollywood’s approach to the concept has been, from a biologist’s perspective, hopelessly naïve. Absolute size cannot be treated in isolation; size per se affects almost every aspect of an organism’s biology. Indeed, the effects of size on biology are sufficiently pervasive and the study of these effects sufficiently rich in biological insight that the field has earned a name of its own: “scaling.” […]

Take any object–a sphere, a cube, a humanoid shape. […] If you change the size of this object but keep its shape (i.e., relative linear proportions) constant, something curious happens. Let’s say that you increase the length by a factor of two. Areas are proportional to length squared, but the new length is twice the old, so the new area is proportional to the square of twice the old length: i.e., the new area is not twice the old area, but four times the old area (2L x 2L).

Similarly, volumes are proportional to length cubed, so the new volume is not twice the old, but two cubed or eight times the old volume (2L x 2L x 2L). As “size” changes, volumes change faster than areas, and areas change faster than linear dimensions.

[…]

In The Incredible Shrinking Man (1957), the hero is exposed to radioactive toxic waste and finds himself growing smaller and smaller. When he stops shrinking, he is about an inch tall, down by a factor of about 70 in linear dimensions. Thus, the surface area of his body, through which he loses heat, has decreased by a factor of 70 x 70 or about 5,000 times, but the mass of his body, which generates the heat, has decreased by 70 x 70 x 70 or 350,000 times. He’s clearly going to have a hard time maintaining his body temperature (even though his clothes are now conveniently shrinking with him) unless his metabolic rate increases drastically.

Luckily, his lung area has only decreased by 5,000-fold, so he can get the relatively larger supply of oxygen he needs, but he’s going to have to supply his body with much more fuel; like a shrew, he’ll probably have to eat his own weight daily just to stay alive. He’ll also have to give up sleeping and eat 24 hours a day or risk starving before he wakes up in the morning (unless he can learn the trick used by hummingbirds of lowering their body temperatures while they sleep).

Because of these relatively larger surface areas, he’ll be losing water at a proportionally larger rate, so he’ll have to drink a lot, too.

{ Fathom Archive | Continue reading }

art { Agnes Martin, Untitled, 1960 }

more { Delusional misidentification syndromes have fascinated filmmakers and psychiatrists alike }

Where would an investigator look for control hairs in a missing person’s case?

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Piper Jaffray analyst Stan Meyers said animated films generally cost about $100 million to make, as well as an additional $150 million to promote.

An executive producer who wants to drastically cut costs traditionally has two choices: water and hair. Those are the most expensive things to replicate accurately via animation. It’s no mistake that the characters in Minions, the most profitable movie ever made by Universal, are virtually bald and don’t seem to spend much time in the ocean.

{ Bloomberg | Continue reading }

Bene ascolta chi la nota

Anthony Burgess, author of A Clockwork Orange, asks his editor (Hunter S. Thompson) if he could submit a novella instead of a “thinkpiece” to Rolling Stone. Hunter S. Thompson replies:

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Morality is herd instinct in the individual

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{ In 1934, the MPAA voluntarily passed the Motion Picture Production Code, more generally known as the Hays Code. The code prohibited certain plot lines and imagery from films and in publicity materials produced by the MPAA. Among other rules, there was to be no cleavage, no lace underthings, no drugs or drinking, no corpses, and no one shown getting away with a crime. A.L. Shafer, the head of photography at Columbia, took a photo that intentionally incorporated all of the 10 banned items into one image. | The Society Pages | Continue reading | More: Wikipedia }

‘La discrétion est le plus habile des calculs.’ —Balzac

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For the student of negotiation, Breaking Bad is an absolute treasure trove, producing an incredibly complex and varied array of bargaining parties and negotiated transactions, episode after episode. What’s so fascinating about these transactions is that they draw on familiar, foundational negotiation concepts in the service of less familiar, usually illicit ends. Put another way, when we watch Walter White negotiate, we watch a mega-criminal anti-hero implement the same “value-neutral” strategies that we teach lawyers and businesspeople. […]

This article examines five negotiations, one from each season, each featuring Walter White. The close readings provided show how the five negotiations demonstrate and/or disrupt foundational negotiation concepts or skills.

{ New Mexico Law Review | PDF | More: New Mexico Law Review, Special Edition dedicated to Breaking Bad }