Addendum: Greenwald has already made a pretty convincing case as to why Assange should fear extradition to Sweden, and why Assange's parents shouldn't expect him home anytime soon.
Thursday, September 6, 2012
Socrates Jesus Denisovich
Addendum: Greenwald has already made a pretty convincing case as to why Assange should fear extradition to Sweden, and why Assange's parents shouldn't expect him home anytime soon.
Friday, August 17, 2012
Wednesday, August 1, 2012
The Girl At Whom He Curiously Stared
Tuesday, April 3, 2012
Same Old Garbage
Alexander Semin has been the Capitals' best forward this season. You won't hear many other analysts or fans say it, but it's true. Despite being criminally underutilized (e.g., reduced minutes at even strength and the power play, playing with inferior linemates, not being used on the penalty kill) and having to play in a mind numbingly conservative, defense-first-second-and-third system installed by Dale Hunter, Semin has managed to essentially lead the team in even strength scoring rate (Perrault actually leads but largely because of Semin), Corsi, and Scoring Chance ratio (SC% as determined by Neil Greenberg). Ovechkin, Laich, and recently Jay Beagle are being given the lion's share of ice time, but it's really Semin who's being effective.
To wit, compare Ovechkin and Semin's numbers at even strength (I did not include Laich's only because he was given checking line matchups for a good portion of the year and I thought it would be unfair to compare apples and oranges, but know that Laich's numbers are fairly dismal, harder matchups notwithstanding):
There may be a basis upon which Ovechkin receives more than 10% more even strength ice time, but it is certainly not performance. The misuse of Semin is at the top of a long list of curious coaching decisions by Hunter.
On a team that has been mostly terrible all year, Semin has been remarkably effective. Everyone talks about how great Backstrom was playing before he got hurt, but Semin has a higher Scoring Chance %, a higher scoring rate, and a higher Corsi, and he did it all while having to carry around the anchor that is Jason Chimera on his line. For a guy who gets nothing but criticism from the mainstream hockey media, it's been a very good season for Alex Semin. Fans of absurd Pierre McGuire histrionics that lead directly to him being made to look the fool on national TV were given a special gift last night when McGuire harangued Semin for not "bearing down" and being "too casual" in putting a chance off the post after calmly deking Dwayne Roloson out of position. McGuire was literally screaming at Semin, who has the 11th highest goals per game average since the lockout, for not converting the chance after great work by Ovechkin earlier in the shift. The echoes of Mcguire's bloated bloviations, which included calling Semin the definition of, wait for it, an "enigma," had barely quieted when Semin absolutely ripped a one-timer through Roloson for the first goal of the game. What was that about bearing down?
Last night was perhaps the apotheosis of the misuse of Semin under the Hunter regime. In a game where a victory would have all but assured the Capitals of the playoffs, and kept them in the hunt for the division, Semin played a total of 14:11. Through two periods, in what was for the most part a scoreless game, he had played 8:10. When Jason Chimera went off for fighting in the 2nd period, Hunter, rather than change his lines or replace the winger to get Perrault and Semin (the Capitals' two most effective even strength scorers) on the ice, the coach simply chose to not play them until Chimera's penalty time had ended. It's been a stunning misallocation of resources, as was the case under the old guy, and it should not come as a surprise that the team is fighting to make the playoffs. Semin finished with 2 points in his 14 minutes, Ovechkin with none in over 22.
Semin is 53rd in the league in EVP/60 (min 50 GP). Of all the players ahead of him, only 11 have played less (Marchand, Purcell, Peverly, Bergeron, Foligno, Perrault, Voracek, Stalberg, Hudler, Pominville, Stafford). Bos, Ott, Phi, Chi, and Det all score substantially more goals than the goal-starved Capitals, and all have deeper groups of scoring forwards to apportion time, however. Semin was apparently not too happy with his ice time last night, and that makes perfect sense, but it's unclear why George McPhee doesn't feel the same way.
Tuesday, March 27, 2012
A Bloom
a bloom too helpless and sheepishly blithe to ever be more.
Sealed with but an airy, drawn-out whimper, it felt like a scream,
and what remains of the unseemly, drab slag slowly washes far away.
A bloom too helpless and sheepishly blithe to ever be more,
meandering curls gave way past pain to sharing nervously forgiving spills.
But what fun was had, reckless and rambling nights upon drinks and stars.
Sealed with but an airy, drawn-out whimper, it felt like a scream
from bells I once enjoyed in the frayed expanse. Time rang and labored to
abrupt, sad certainty in full. Search party’s not coming back.
And what remains of the unseemly, drab slag slowly washes far away.
Unslumbered by a pleasantly surprising “hi,” from shaking to revelry
to pining and longing for those innocent, plain moments now forever lost.
Wednesday, February 15, 2012
The Turin Horse: A March Through Life's Pain, Struggle, and Futility
“The Turin Horse,” a slow and solemn black-and-white film set in a 19th-century wilderness and inspired by an anecdote involving Friedrich Nietzsche, displays Mr. Tarr’s uncompromising, atavistic commitment to darkness, difficulty and lapidary pictorial sublimity. The movie may also dispel any skepticism about the finality of his decision to abandon his vocation, since it is hard to imagine a more thorough and systematic statement of intellectual despair. Bela Tarr may be the happiest man in the universe, but the universe as he depicts it is a harsh and cruel place, indifferent if not actively hostile to the striving of human beings and other dumb animals.
I'm not going to bother reviewing Bela Tarr's masterpiece The Turin Horse since A.O. Scott does so nearly perfectly. But I will just add a few brief thoughts.
One of the stylistic hallmarks of the film, and of Tarr's work generally, is the long take. FN1 I am, to put it mildly, a fan of the long take. Two recent American works, Meek's Cutoff, which received a fair amount of critical press and was featured on many year-end best-of lists, and The Lonliest Planet, FN2 which is being released theatrically this spring, concern travelings across long distances and use long, wide shots to depict the beauty of the landscapes and the difficulty of the journeys. I liked both films, but their use of long takes merely scratches the tip of the precipice of the surface of Turin, which being composed of roughly 30 different shots over 2-and-a-half hours, is accordingly made up of shots that vary in length between long and interminable. What sets apart Turin's long takes, however, is not length or quantity, nor is it that they are mostly shot in tight as the actors move purposefully, albeit glacially, within the cramped house in which nearly all the "action" occurs, but rather it's the cumulative effect of showing the monotony, rituality, and resulting realism of the pain and struggle of being alive.
Meek's, and to a much lesser extent Lonliest, uses its long takes to elaborate on and stylize a very specific segment of the experience; e.g. long, drawn-out traveling shots cut to a set-up campsite with people milling about in unspoken despair over the precariousness of their situation. The actual work that goes into the camp set-up is completely ignored. La Ritual de lo habitual no existen. The film's emotion is created largely by the uncertainty in the story, will they make it to water or won't they, and the characters' responses to it. Tarr, far less sexily and through sheer force of will, creates feeling through the mundane drudgery of the routine but painstaking actions needed to simply stay alive: the daughter systematically undressing and dressing her father, the cooking and eating of boiled potatoes, the retrieving of water each morning, the shots of palinka to start the day. FN3 All of it is done without speech, emotion, or much consideration by the actors, but not only is each absolutely necessary for survival, they are inescapably, as the human condition is wont to be, brimming with a panoply of tenderness, bitterness, numbness, and acceptance. Everything but joy. The simple acts that Tarr shoots even more simply yet so convincingly (and repeatedly) convey more about the characters and their lives than any Sorkinian soliloquy about self-awareness, -hatred, or -congratulation ever could.
It is a painful, brutal film. Everyone should see it.
FN1 - I'm using "long" to mean "temporally long," and not in some fancy, technical photographical way.
FN2 - See The Lonliest Planet if you can; it is good. My friends claim I missed the whole point of the film. I claim it was all a set up by internal affairs. And that Gael Garcia Bernal is dreamy.
FN3 - My one real complaint is that there are no scenes depicting the characters relieving themselves. They get up in the morning and go straight to their tasks (she: dress, get water from well, dress dad, palinka, stable; he: look confused, get dressed by daughter, palinka, stable). You see them do basically everything it is that they do, but never once do you see them piss or shit. I know they were hard, but no one's that hard.