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a set of sharp and cogent notes

Stuff We Like

  • The Vice Guide to North Korea

    North Korea

    This brilliant and disturbing documentary takes you deep into the shallows of Kim Jong Il’s hermit kingdom. Somehow, Vice Magazine’s Shane Smith (founder of VBS, Vice’s video division and star of their Guide to Travel series) and a clandestine-camera-wielding companion secure passage into North Korea from China -- pretending to be tourists, of course, because journalists go to jail. For an hour Smith explores the thin, saccharine veneer of majesty and might that the dictatorship uses to obscure the truth about the desperately impoverished and broken country. He mingles with eerily upbeat hosts, waitresses and tour guides, all hand-picked to chaperone him 24/7 during his stay (the pretense of which is to view and report on the Arirang Mass Games, a spectacular orgy of propaganda and gymnastics too baffling for words). Complete with a heartbreakingly awkward karaoke rendition of the Sex Pistol’s "Anarchy in the U.K.," this documentary is a must-see: a visceral primer for anyone interested in understanding the uniquely other-worldly yet backwards North Korea.  -- Adam Schaefer

  • The Art of Marco Fusinato

    Marco Fusinato

    Music, math, the interactive: these are three things that I really like, and Marco Fusinato's art includes them all. Mass Black Implosion is probably my favorite of his projects -- it reimagines musical scores, sometimes by overlaying them with scribbles of varying thickness (maps to some imagined territory), in architecturally-precise lines (an explosion into three dimensions), or as some kind of gloriously strange infographic for the world to come. Aetheric Plexus, in sharp contrast, turns audiovisual detail into interactive assault. It's difficult to get a sense of the scope of some of these works, but it's evident that Fusinato's gallery showings include a vast collaborative and musical component -- I'd love a chance to see some of this stuff live -- and I'm quite taken with his curatorial series You Don't Have to Call it Music, which tasks visual artists to create music.  -- Lauren Caldwell

  • Dianne Wiest's Old Face

    Dr. Gina Toll

    Dianne Wiest first struck me as the standout of Hannah and Her Sisters; then as the Law & Order DA who tells Sam Waterston what to do and how to think. She aged between these roles and now is even older, the offbeat beauty of her youth having morphed into a mature visage of both astonishing expressiveness and grandmotherly inscrutability — a crucial element of her facile and felicitous performance as psychotherapist Gina Toll on HBO's In Treatment. Psychotherapy is a delicate, hyper-pressurized encounter in which change rests on an enduringly empathetic therapist (who is also capable of being perceived as such) imbuing contingent actions and words with novel meanings and potentialities. Gina's patient Paul, a former protégé who returns for guidance after a decade of estrangement that began when Gina denied him a promotion, is ever probing Gina's face for nefariousness. A sleepy spider lying in wait, is what Paul calls her: What secret motives lie covertly in the fragile folds of her jowls, in the puffy bags beneath her eyes, etched on her weblike cheeks? Her enigmatic expressions initially offend Paul, whose history with Gina predisposes him to read any ambiguity in her mien as perfunctorily negative. Not sharing this pervading bias, we enjoy the virtuosic, Emmy-winning face of this gorgeous old lady whose allure and gravitas make me want to ask her to run for president.  -- Kevin Hilke

From the Vault

Things that died in 2008.

Our president pledged as primary candidate to staunchly defend individual civil liberties and curb the domestic intelligence abuses of the Bush Administration. As the Democratic candidate, he hedged. As president-elect, he made stunning about-faces, notably on immunity for telecommunications companies who cooperated with Bush's illegal requests. Now, as president, he's continued as many of Bush's abuses as he's curtailed. Also, there was a time when John McCain wasn't an unprincipled, dishonorable bigot. He was quite the man, when he was a man. Then came a succubus to hasten his by then inevitable decline.

drink deep

What Ayn Rand Taught Me

Scott Coomes

Ayn RandPages upon pages of John Galt self-righteously sneering at all the ‘looters’ (socialists, vegetarians, Christians, liberals, Buddhists, academics, environmentalists, Mexicans, etc.) seem not only like a pathetic attempt to overwhelm a reader who would be impressed by the volume of pages, but also like the product of a small mind. John Galt’s cheery speech was more than my well meaning young-Republican-lite ideology could take. Rand helpfully packaged this ideology in weapons-grade concentration and laid it all out for easy scrutiny and swift rejection.

Nerdishly Hot Sarah Palin Is a Succubus

Jonathan Pope

Sarah Palin is a succubus for American liberals. We could deal with a pro-life, pro-oil, pro-war, pro-God wack-stupid Governor when he was from a rich political dynasty, but when it’s a she and she comes from Middle-earth and is insatiably proud of her own faults, she’s like the no-bullshit dream girl of our Woody Allen fantasies. Everyone compares her to Tina Fey; the better comparison is to Diane Keaton. Palin is turning the middle American dumbasserazzi on to the hotly nerdish girl, thirty years later; and, in the process, she’s getting liberal America wet and hard.

Joseph Cotten’s Splendid Sadness

Darren Franich

“Orson Welles lists Citizen Kane as his best film, Alfred Hitchcock opts for Shadow of a Doubt and Sir Carol Reed chose The Third Man—and I’m in all of them.”

—Joseph Cotten

Obama’s Sober Hope, Bush’s Cowboy Certitude, and the Legitimizing of Positive Ambiguity

Kevin Hilke

Obama’s retrospectively vindicated opposition to dumb war in the face of supposedly airtight evidence for launching it has proven a victory not just for Obama, but for the legitimacy of ambiguity itself as a space for positive thinking in the making of serious decisions by individuals and societies. With the discrediting of certitude undergirded by the hyperspecific comes the complementary embrace of an ineluctably abstract, indefinable hope—a hope we have espoused, often reluctantly, because the sober and steady hand of the man who has become its global symbol checks its pesky quixotism.

The Plasma Spring