Being a computer scientist who refuses to find anything about LLMs interesting right now is a bit like being a geneticist who refuses to find anything interesting about the recently opened Jurassic Park.
LAST WATCHED: SISU 2: ROAD TO REVENGE (2025) is, sadly, a more conventional film than the original. Still lots of bloody fun, but too similar to the original in its beats to be as enjoyable, trying harder to be “emotional” while losing some of the little textual depth that made the first film surprising.
So, I thought this was a really cool study because it showed very clearly that there is temporal persistence in emotions and sadness probably has one of the longest time constants as we know from personal experience. But it's separate from just declarative memory.
so many of the best practices that your lawyers, your bankers, whoever advisers you have, they're going to be pushing best practices on you that are younger than the trees in your local park.
Which brings me to the film adaptation of Inherent Vice, that widely-disliked, subtly-championed shaggy stoner LA noir that confused critics and rankled fans and also happens to be the best movie Paul Thomas Anderson has ever made.
Jurassic Park by Michael Crichton is a surprisingly weird and weirdly underrated novel given how many copies it sold and the popularity of the blockbuster franchise it spawned. The story weaves together many apparently disparate threads and there are extensive speculative digressions into the biotechnology, business interests, and institutional dynamics that make the park possible and its dissolution inevitable. If the movie is supremely entertaining, the book is supremely thought-provoking.
And in fact, I do like Moana very much. It’s my favorite film out of Disney Animated Studios in the last decade, and even (barely) edges out Coco when you include Pixar in the mix
film was this high margin product where they had a bunch of unique intellectual property and digital cameras are a low margin um commodity where they were competing with the entire consumer electronics industry with no differentiation.
Identification of a Woman (Italy, 1982, CC) 3.8 Critics often point out various flaws in Antonioni films, but I’d rather focus what he does so well. He’s one of those directors that appeal to serious film buffs because the visuals are so brilliantly constructed. (Tarkovsky, Ozu, Kairostami, Hou Hsiao-hsien, and Wes Anderson are some other examples.)
Dry Summer (Turkey, 1964, CC) 3.5 I wasn’t sure I wanted to see a 50-year old Turkish film about farmers fighting over water rights. I did. There’s a reason Scorsese put this surprisingly entertaining film on his global cinema list.
Challengers (US) 2.6 Drove 30 minutes to the theater. Sat through 15 minutes of commercials and 15 more of loud in-your-face trailers. Then within 60 seconds I knew I had picked the wrong film. Unpleasant characters, phony “Hollywood” dialogue and a really annoying musical soundtrack.
Falling Leaves (Finland) 3.4 A characteristic Kaurismaki film. Like Wes Anderson, his films have a certain look and a sly sense of humor. Like Ozu, he makes the same film over and over again.
The Broken Ice (China) 3.2 A few decades ago, I would have been more impressed by this film, which is roughly in the style of Jia Zhangke. Now it seems a bit derivative.
Many films are the most fun the first time because a part of our brains loses itself in the plot and actually experiences what the characters are experiencing, to an extent.
If you want one book to teach you everything you need to know about giving great presentations, this is the book. A film director, a psychologist, and an actor share their combined experiences to help improve your content, the design, your movements, and just about every other detail of being a great speaker. It was a slow start, but by the end, I had dog-eared dozens of pages and marked up many more which I was able to directly apply to a major talk I was working on.
The display is absolutely gorgeous and has all the space I need so I love it, but this thing is designed for professional film production so a lot of the features I'm paying for with this thing are totally unnecessary for me.
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