Very excited for New York Comic Con!!! I'll be there on Thursday and Sunday. Hope to see you there!

1) Order the fish in a restaurant on a Monday. It'll be three days old. 

2) Base-jumping. He just doesn't see the appeal.

3) Cheat on his wife. Sandra is his world. 

4) Open a new battlefront without adequately securing supply lines first. This one probably won't come up. But still, he'd never do it. Look at Napoleon. 

5) That. He'll do anything for love. But. 

Edit: For some reason, a lot of people seem to be complaining that none of these have anything to do with dishwashers. Why should they? Our dishwasher expert knows a lot about dishwashers, sure, but they're not his whole life. Get some perspective, people.

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In the latest episode of their intrepid podcast, Ken and Robin talk Sense Trouble, fatbergs, William Stephenson, and doomsday predictor Albert Porta.

Nomadland [US, Chloé Zhao, 5] When her town closes down in the wake of its gypsum mine’s closure, a self-reliant widow (Frances McDormand) moves into her van and joins the ranks of the nomad subculture, people who rove the US, taking whatever hard work they can get and living out of their vehicles. Rooted in social realist cinema, marked by a triad of transcendent qualities: poetic visual beauty, an indelible central performance and a deep love for the characters from the writer/director.

This is from Searchlight, formerly Fox Searchlight, now part of the Disney empire, so you’ll get a chance to see it. Likely as part of awards season, whatever the heck that’s gonna look like this year. Normally I don’t spend festival slots on titles with distribution but that’s out the window in the COVID-verse.

(At the moment cinemas are open, with distancing, here in Ontario but if you look at the numbers we’re in the early denial phase of a reimposition of lockdown measures. Whatever the deal is I don’t plan to be inside a theater in any foreseeable time frame.)

Her next project is a huge pivot from poetic verite dramas like this and The Rider— Marvel’s The Eternals. 

Memory House [Brazil, João Paulo Miranda Maria, 1] Racist harassment from German co-workers drives dairy worker to vengeance. Blunts the political anger of its subject matter with enervating pacing.

Another Round [Denmark, Thomas Vinterberg, 4.5] Burned out high school teacher (Mads Mikkelsen) embarks with three colleagues on an experiment to enhance their performance by maintaining a blood alcohol level of 0.5% throughout their days at work. Not only an original booze movie, but a big one, full of turns and ambiguities, and an utterly masterful performance from Mikkelsen.

Shadow in the Cloud [New Zealand, Roseanne Liang, 4] When an WWII RAF Flight Officer (Chloe Grace Moretz) boards a Samoa-bound cargo plane bearing a mysterious package, a monstrous gremlin on board is just one of the surprises. Enclosed space horror-action thriller tips an 80s-style hat to Carpenter and Cameron.

COVID has put the kibosh on much this year, but it can’t stop the capsule TIFF reviews. From the plague-ready, off-model edition of the Toronto International Film Festival, here’s my annual collection of mini-reviews.

The greatly cut-down slate included only slivers of the festival I’d program for myself in a regular year: four to five from international auteurs and a couple examples of global genre cinema. The missing items either are waiting in limbo as sales agents the world over hope that theatrical exhibition will return, or didn’t even get shot.

This list features more Canadian films and documentaries than I’d see at the fest (as opposed to catching them later.) Festivals tend toward the dour and downbeat but that was doubly true this time out. If we’re still trapped in our homes next year, I’ll likely be more vigilant about sorting through the slim pickings, supplementing our streaming experience with titles already available on other platforms.

That said, the overall hit rate was probably as strong as any other recent year. The average score on my numerical ratings would be higher, actually. It’s just that I saw the same festival everyone else did, starting with the film that garnered nearly universal acclaim, nabbed the People’s Choice Award, and will surely be part of the Oscars race—whatever the heck that will look like.

Films are listed in order of preference. Within categories that doesn’t mean much and entails a lot of apples-to-oranges comparisons. A festival near you, or not so near you but within your territory for geolocking purposes, may be virtually screening some of these soon.

The Pinnacle

Nomadland [US, Chloé Zhao, 5] When her town closes down in the wake of its gypsum mine’s closure, a self-reliant widow (Frances McDormand) moves into her van and joins the ranks of the nomad subculture, people who rove the US, taking whatever hard work they can get and living out of their vehicles. Rooted in social realist cinema, marked by a triad of transcendent qualities: poetic visual beauty, an indelible central performance and a deep love for the characters from the writer/director.

Recommended

Another Round [Denmark, Thomas Vinterberg, 4.5] Burned out high school teacher (Mads Mikkelsen) embarks with three colleagues on an experiment to enhance their performance by maintaining a blood alcohol level of 0.5% throughout their days at work. Not only an original booze movie, but a big one, full of turns and ambiguities, and an utterly masterful performance from Mikkelsen.

City Hall [US, Frederick Wiseman, 4] The latest of Wiseman’s distinctive epic-length observational documentaries studies the quotidian, procedural and human moments of human life as seen through the processes of municipal government in Boston, as held together by the thoughtful charisma of Mayor Martin Walsh. Improbably absorbing as always, this institutional cross-section offers a beguiling vision of an oasis of good government in the USA.

True Mothers [Japan, Naomi Kawase, 4.5] Parents of a kindergartner react with dismay when a woman contacts them claiming to be his birth mother. Luminous, delicate drama of shifting perspectives.

Fireball: Visitors from Darker Worlds [US, Werner Herzog & Clive Oppenheimer] Documentary explores the science and mythology of meteor, from Chicxulub to ʻOumuamua. The intersection between scientific discovery and religious awe, central to all of Herzog’s beautiful and delightful nature docs, rises from subtext to text through the intercession of traditional elders, joyful researchers, and the Jesuit scholar of the Vatican’s heaven stone collection.

David Byrne’s American Utopia [US, Spike Lee, 4] Filmed version of the Broadway version of David Byrne’s recent tour features joyous choreography, simple but arresting stagecraft, and songs from his Talking Heads and solo eras. When you shoot a concert film featuring David Byrne, you have to bring it, and Lee does that ably, finding countlesss different ways to shoot within a proscenium.

The Father [UK, Florian Zeller, 4] Retired engineer (Anthony Hopkins) struggles to piece together the confusing reality of his living circumstances as his daughter (Olivia Colman) copes with his progressing dementia. Impeccably performed stage play adaptation puts the viewer inside the contradictory shifts of the protagonist’s subjective viewpoint.

Night of the Kings [Côte d'Ivoire/France , Philippe Lacôte, 4] When the red moon rises over MACA, the Ivory Coast’s toughest prison, its inmate boss appoints the new arrival as storyteller—a post that results in death if the tale ends before sundown. Prison drama with compelling narrative hook widens out to encompass ancient warfare, contemporary politics, and even a wizard duel.

Summer of 85 [France, Francois Ozon, 4] Love between two young men in a French beach town leads to a bizarre crime. Teen emotions run high in a sunlit melodrama of Eros and Thanatos.

Spring Blossom [France, Suzanne Lindon, 4] Bored with her classmates, an awkward 16 year old (played by the writer-director) pursues her attraction for a ruggedly handsome stage actor (Arnaud Valois.) Character drama sets aside the sexual aspect of this staple French cinema situation to focus on the emotion, periodically breaking from naturalism to have its characters express their feelings through dance.

Get the Hell Out [Taiwan, I-Fan Wang, 4] Taiwan’s notoriously pugilistic parliament tips into arterial spray when the effluent of a controversial chemical plant triggers a zombie epidemic. Zombie comedy features an eye-searing palette and an onslaught of optical overlays, and is paced like a quarter kilo of crushed Adderall.

Preparations to Be Together For an Unknown Period of Time [Hungary, Lili Horvát, 4] Top neurologist questions the accuracy of her recollections when she moves back home from the US to Budapest for a romantic rendezvous, only to find that the object of her affections professes not to remember her. Quietly suspenseful drama of psychological uncertainty.

Shiva Baby [US, Emma Seligman, 4] The ambient social pressures of a post-funeral gathering skyrocket for a directionless college student (Rachel Sennott) when attendees include not only the expected ex-girlfriend (Molly Gordon) but also the sex work client she’s caught feelings for. Knife-edge comedy of emotional suffocation uses a plucky suspense score for that extra frisson of social anxiety.

Under the Open Sky [Japan, Miwa Nishikawa, 4] Out of prison after a long sentence, an aging yakuza (Koji Yakusho) struggles with his volcanic temper as he attempts to go straight. Bittersweet drama anchored by a lead performance from Yakusho, a mainstay of contemporary Japanese cinema.

New Order [Mexico, Michel Franco, 4] A wedding thrown by a wealthy family during a growing insurrection suffers a murderous attack by protestors and the kidnapping of the bride. Wildly disturbing vision of political violence and degradation takes its time unreeling its allegorical purpose.

Limbo [UK, Ben Sharrock, 4] Syrian oud player grapples with guilt over family left behind as he cools his heels with other refugee claimants at a center in the bleak and isolated Outer Hebrides. Moments of deadpan humor and stark landscapes layer this exploration of displacement.

Violation [Canada, Madeleine Sims-Fewer & Dusty Mancinelli, 4] Woman (Madeleine Sims-Fewer) exacts meticulous revenge after her brother-in-law rapes her. Although this jarring, meditative drama includes gruesome imagery and horror-exploitation motifs, it’s closer in spirit to Michael Haneke than Dario Argento or Wes Craven.

Shadow in the Cloud [New Zealand, Roseanne Liang, 4] When an WWII RAF Flight Officer (Chloe Grace Moretz) boards a Samoa-bound cargo plane bearing a mysterious package, a monstrous gremlin on board is just one of the surprises. Enclosed space horror-action thriller tips an 80s-style hat to Carpenter and Cameron.

Beans [Canada, Tracey Deer, 4] As the 1990 Oka standoff envelops her Mohawk community, a shy tween achiever (Kiawentiio) decides to toughen up by ingratiating herself to the tough kids. Mixing the docudrama and coming-of-age structures offsets the inherent trickiness of both, but it wouldn’t work without an appealing and touching performance from its charismatic young lead.

Akilla’s Escape [Canada, Charles Officer, 4] Weed dealer hoping to leave the business (Saul Wiliiams) tries to recover his boss’ ripped-off cash and product without sacrificing a young gang member who reminds him of his younger self. Moody, laconic crime drama contextualized by the political history of Jamaican gangsterism.

Enemies of the State [US, Sonia Kennebeck] Documentary pulls apart a labyrinth of contradictory evidence around Matthew DeHart, an Indiana man who was framed for child pornography by the FBI as part of a Wikleaks espionage case, or created a story of secret files to shield himself either cooked up a Wikileaks-related espionage smokescreen to mask his sex crimes. Invites the viewer to join a filmmaking team as it goes ever deeper down a rabbit hole.

The Inconvenient Indian [Canada, Michelle Latimer, 4] Essay-format documentary examines the Indigenous struggle for sovereignty and cultural reclamation in North America, as hosted by novelist Thomas King and inspired by his nonfiction book of the same name. Makes its case through cinematic language, pushing the archival footage and talking heads format to the background.

Beginning [Georgia, Dea Kulumbegashvili, 4] Depressed wife of a pastor bears the brunt of a persecution campaign from a local man hostile to their minority Baptist faith. The camera acts as a pitiless eye in this harsh, austere drama of pervasive male oppression.

The Truffle Hunters [Italy, Michael Dweck & Gregory Kershaw, 4] An aging generation of Piedmontese truffle hunters carries on the search for the elusive delicacy, fearing the poison bait left for their beloved dogs by ruthless newcomers to the trade. A documentary balm for lovers of food and canines luxuriates in the presence of sumptuously photographed forest eccentrics and their very, very good dogs.

Lift Like a Girl [Egypt, Mayye Zayed, 4] From ages 13 to 18, under the tutelage of a volcanic, motormouth coach, with a rubble-strewn lot on a busy Alexandria street, weightlifter Zebiba trains to be a champion. Fly-on-the-wall documentary inhabits a hardscrabble community powered by loving verbal abuse.

The New Corporation: The Unfortunately Necessary Sequel [Canada, Joel Bakan & Jennifer Abbott, 4] Polemical documentary deploys narration, stock footage and talking heads (some appearing via lockdown video conference) to survey corporate capitalism and the struggle against it from Reaganomics to COVID and the George Floyd protests. Comprehensive primer for the prospective young progressives includes a call to continued electoral action.

40 Years a Prisoner [US, Tommy Oliver, 4] Documentary recounts the 1978 standoff between members of radical Black back-to-nature organization MOVE and Philadelphia police through the efforts of the son of two of the group members to secure their parole. A strong emotional hook greatly assists in telling a tenaciously complicated story.

Good

Pieces of a Woman [US, Kornél Mundruczó, 3.5] Grief tears a couple (Vanessa KIrby, Shia LaBeouf) apart after the death of their baby in childbirth, abetted by the insistence of her domineering mother (Ellen Burstyn) that they pursue legal action against their midwife (Molly Parker.) Wrenching drama marked by deep performances and key long take scenes. An otherwise masterful script reaches for the conventional when it hits its climax.

Wildfire [UK/Ireland, Cathy Brady, 3.5] After going missing for a year, a bipolar woman (Nika McGuigan) drops in on her sister (Nora-Jane Noone), opening the wounds of shared tragedy. Raw, unsubtle family drama against the backdrop of Northern Irish politics as Brexit threatens a fragile peace.

Fauna [Mexico/Canada, Nicolás Pereda, 3.5] Narratives nest within narratives when an actor visits his girlfriend’s family in a sleepy small town. Comic misunderstandings, naturalistic locations and twisting meta-story may remind seasoned festival-goers of the works of Hong Sang-soo, with Coronas instead of soju.

The Water Man [US, David Oyelowo, 3.5] Imaginative kid (Lonnie Chavis) heads into the Northwestern forest in search of a legendary immortal, thinking he holds the secret to curing his mom (Rosario Dawson) of leukemia. One of the more successful of a recent wave of films that put a somber sin on 80s kids adventure, thanks to a well-constructed script and Oyelowo’s sure control of tone.

The Way I See It [US, Dawn Porter, 3.5] Documentary profile of Obama-era Official White House photographer traces his arc from work for the Reagan administration to anti-Trump social media firebrand. Whether American viewers consider this slickly fashioned film heartfelt or sentimental will depend on party registration. It’s certainly explicitly designed to fire up Ds to get out there to de-elect the current president.

Okay

Bandar Band [Iran/Germany, Manijeh Hekmat, 3] A pregnant singer, her husband and their guitarist try to get their van through a floodstruck region to attend a contest gig in Tehran. Neorealist drama where the obstacles in the characters’ path are literal.

Penguin Bloom [Australia, Glendyn Ivin, 3] A former surfer left paralyzed from the chest down by a freak accident reluctantly bonds with a magpie chick named Penguin, which one of her young sons has rescued. Sun-dappled animal-related family drama about the depression and anger that can accompany a life-changing injury.

Falling [US, Viggo Mortensen, 3] Pathologically forbearing airline pilot (Mortensen) attempts to find a new situation for his lifelong miserable prick of a father (Lance Henriksen) as his dementia worsens. With one character incapable of change and another not needing to change, almost all of the scenes repeat the same dynamic.

Gaza Mon Amor [Palestine/France, Tarzan & Arab Nasser, 3] Middle-aged fisherman discovers a Greek statue and courts a wary dress shop clerk. Deliberately paced dramedy of life under oppression.

Concrete Cowboy [US, Ricky Staub, 3] After yet another expulsion from school, a troubled teen (Caleb McLaughlin) gets dumped for the summer with his father (Idris Elba), who belongs to Philadelphia’s threatened culture of inner city horse owners. A rich social milieu is the star of the show in this affirming drama, which could do with a stronger drive to activate its protagonist.

I Care a Lot [UK, J Blakeson, 3] Corrupt legal guardian (Rosamund Pike) who slaps unsuspecting seniors into care facilities to bleed them dry triggers a cat-and-mouse game when her latest prey (Dianne Wiest) turns out to be the mother of a wealthy gangster (Peter Dinklage.) Engaging thriller— until it betrays the contract it has established with the audience.

Not Recommended

Memory House [Brazil, João Paulo Miranda Maria, 1] Racist harassment from German co-workers drives dairy worker to vengeance. Blunts the political anger of its subject matter with enervating pacing.

For years TIFF has been intentionally or otherwise making it incrementally more difficult to do the event diehard style, as we have always done. Often it announces changes that blindside longtime loyalists—sometimes, as this year, after they’ve purchased their expensive memberships and ticket packages. This time around they surprised us by taking a tier of titles that any other year would be available through the package we purchased and moving them into a premium package previously reserved for the most publicized Gala films. For good measure, they threw in a couple of other medium-sized irritants.

To recreate something closer to our usual experience, we programmed another 25 titles already available on streaming platforms. Some actually played TIFF in the past; others were the types of movies that could have played the fest but didn’t.

I’m glad that we did, because the TIFF titles we were allowed to choose from included all of the duds of a normal year and none of the surprise masterpieces. Granted, it was a miracle that any films got made this year, and those that did tended toward the sorts of modest chamber pieces that could be produced under COVID protocol conditions.

This year crystallized a gradually growing realization we’ve been trying to suppress. So much has changed in the world of international cinema, from the festival’s position in their life cycle, to their subsequent availability, and even the style of the movies themselves, has completely changed since we started doing this in the mid 80s.

We have always gone to the fest for great films that we could otherwise never see, and started doing it in the VHS era. We don’t care about seeing things before anyone else does, or seeing the stars wave at us from the stage beforehand, or hearing audience members ask directors rambling questions afterwards. Even the virtues of a big screen experience are blunted by a dirty secret — a packed TIFF venue is not actually an ideal place to see a movie. Talkers and smartphone screens abound in every screening, and the bigger venues they convert into movie theaters for ten days are universally terrible.

You’d think that programming films from existing streaming platforms eliminates the other key part of fest-going, the surprise from out of nowhere. Except we got more of those with our alternate schedule than we did with the official titles this year.

In other words, after 36 years we are retiring from our vacation. Next year we’ll be doing a fully alternate replica of TIFF as we think of it from the past. The old rodeo is dead. Long live the new rodeo.

Here then is my final set of Toronto International Film Festival capsule reviews.

(Capsules for the 2021 Robin and Valerie International Film Festival will drop over time in Ken and Robin Consume Media.)

Recommended

Murina (Croatia, Antoneta Alamat Kusijanović) Teen (Gracija Filipovic) chafes at the agitated authority of her command-barking father (Leon Lucev) as he hosts a rich, glamorous old friend (Cliff Curtis) to try to sell him on a resort proposal. Taut, superbly acted family drama set against the stunning yet slightly sinister beauty of the rocky Croatian coastline.

Saloum (Senegal, Jean Luc Herbulot) Three gunslingers—the mastermind, the hard case, and the magic user—take an unscheduled pit stop at an eccentric communal resort, which harbors horrible secrets of both the man-made and supernatural varieties. Gorgeously shot, tightly edited contemporary horror western with political resonance and cool monster design.

Compartment No. 6 (Finland, Juho Kuosmanen) Traveling alone on a trip she was supposed to take with her Muscovite professor girlfriend, a Finnish archaeology student finds herself sharing a compartment on the train to Murmansk with a loutish miner. Naturalistic light romantic drama of human connection overcoming barriers of class and personality.

OUT OF SYNC (Spain, Juanjo Giménez Peña) Isolated sound mixer (Marta Nieto) is unnerved to suffer a strange delay in her hearing, which becomes all the more inexplicable as it worsens. Realist weird tale makes smart use of cinema’s relationship between sight and sound. 

Zalava (Iran, Arsalan Amiri) In pre-Revolutionary Iranian Kurdistan, a pig-headed police sergeant interferes with a djinn exorcism, sparking village hysteria. Tale of communal terror and its hazards generates suspense by skillfully modulating its pace.

Vengeance is Mine, All Others Pay Cash (Indonesia, Edwin) After meeting cute by beating the crap out of each other at a construction site, two lovers navigate the vicissitudes of fidelity, vengeance, and impotence. A martial arts flick that isn’t an action movie, but rather an allegorical romantic drama with elements of satire and magic realism to go with its bruising 70s style fights.

Hold Your Fire (US, Stefan Forbes) Documentary recreates the 1973 robbery-turned-hostage incident in which a group of young black Sunni men hoped to steal guns from a sporting goods shop to protect themselves from the Nation of Islam, in which the beginnings of hostage negotiation techniques were created and implemented on the fly. Archival footage and compelling retrospective interviews illuminate a complicated narrative with resonances into the present day.

A Banquet (UK, Ruth Paxton) After her husband’s death, a brittle woman (Sienna Guillory) struggles with her eldest daughter’s (Jessica Alexander) visionary transformation, which has taken away her need to eat. Slow burn realist cosmic horror filters eating disorders, emotional control and female rage.

Kicking Blood (Canada, Blaine Thurier) Vampire (Alanna Bale) connects with a detoxing alcoholic, prompting her to reconsider preying on humans. Frosty supernatural indie drama extends the vampire-as-addiction metaphor.

Yuni (Indonesia, Kamila Andini) High schooler with a yen for purple chafes at the narrow expectations her religious school, family and village have for her.  Observational social drama enlivened by a vivid color palette.

Good

The Daughter (Spain, Manuel Martín Cuenca) Teacher at a juvenile detention center helps a pregnant 14-year old escape so she can live secretly with him and his wife at their mountain home and give them the baby when it is born. Ultra-restrained domestic thriller could stand a notch or two less restraint.

Dug Dug (India, Ritwik Pareek)  A local saint cult springs up when a motorbike keeps mysteriously returning to the site of its owner’s death. Gentle satire of faith and religious merchandising shows the sort of color and verve that raises hopes for a fresh wave of Indian art cinema.

Tug of War (Tanzania, Amil Shivji) A callow Marxist subversive falls for an Indian girl who has escaped her arranged marriage in British-controlled 1950s Zanzibar. Political romantic drama adopts the language of classic Hollywood glamor, albeit without the magnetic movie star performances the style depends on. Based on a classic Tanzanian novel.

Okay

Earwig (France, Lucile Hadžihalilović) In a creepy manor, an anxious loner (Paul Hilton) looks after a girl with teeth made of ice, at the behest of mysterious masters. The director’s first English language film pushes her dream narratives of childhood transformation into the far fringes of austerity.

Not Recommended

You Are Not My Mother (Ireland, Kate Dolan) A withdrawn teen’s depressed mother briefly disappears, prefiguring the revelation of a supernatural family secret. Contemporary folk horror with stronger direction than script, with extensive foreshadowing genre fans will be well ahead of and an inactive menace that doesn’t do enough to propel the story.

Snakehead (US, Evan Jackson Leong) Smuggled immigrant (Shuya Chang) works off her debt by acting as the right hand to the matriarch (Jade Wu) of an NYC Chinatown crime family. Socially conscious gangland drama features the bane of longtime documentarians turning their hand to fiction:  awkward, exposition-heavy scripting.

Arthur Rambo (France, Laurent Cantet) Rising literary star (Rabah Nait Oufella) plummets when the hate-filled tweets of his old alter ego resurface. Refined, uncinematic debate film presents thesis, antithesis, and credits.

Medusa (Brazil, Anita Rocha da Silveira) Member of AN ultra-right Christian school’s violent, pallid-masked theocratic girl gang  goes undercover at a coma ward in search of a disfigured model. Overlong, unfocused political allegory references the horror genre, chiefly by adopting Dario Argento’s color palette.

After Blue (Dirty Paradise) (France, Bertrand Mandico) On a psychedelic alien world, a young outcast (Paula Luna) frees the statuesque, wish-granting death-dealer Kate Bush and she must accompany her hairdresser mother (Elina Löwensohn) on a quest to hunt her down. Invokes the spirits of Jodorowsky and Barbarella for a sleepwalk trudge through an arbitrary sequence of dream-logic events. Like its influences it is perhaps intended for a chemically altered audience.

La Soga 2 (US, Manny Perez) Dominican hitman (Perez) has gotten out and is living with a devoted new girlfriend, until a corrupt CIA officer pulls him back in. Scrappy microbudget crime flick is Dominican. 

David Whitford - San Juan College OLER Student

Federal Government Boosts Australian Cardiovascular Alliance’s Mission to Combat Cardiovascular Disease and Stroke  News Hub

1. Second Nine news executive leaves in wake of cultural review  Sydney Morning Herald
2. Nine executive quits embattled network  news.com.au
3. Another executive departs beleaguered Nine Network  Daily Telegraph

1. Corporate regulator sues Cbus over unresolved insurance claims  Sydney Morning Herald
2. VIDEO Cbus taken to court accused of failing to pay thousands of claims  ABC News
3. Super fund in strife over $20m in delayed payments  The Canberra Times

1. Elon Musk’s job as Trump’s bureaucracy buster could be just the start  The Australian Financial Review
2. Elon Musk tapped for ‘government efficiency’ role by Donald Trump  Sydney Morning Herald
3. Evening News Bulletin 13 November 2024  SBS News
4. Donald Trump wants Elon Musk to slash regulations as he reveals his role  ABC News

BethDunn just wrote a great post about mail fundraisng appeals and two schools of thought that are applied to them throughout the industry.

On the one hand there is the practical appeal to a donor's sense of logic and decency. On the other hand, there are the emotional appeals dripping with manipulation sent out to shock or shame a donor into action.

While On Fundraising's primary focus is telephone fundraising, this subject matter is relevant to On Fundraising for two reasons.

Mail appeals and phone appeals are generally part of the same campaign. Sometimes a donor is called first, other times they'll get a mailer and then a follow up call.

Increasingly donors are savvy enough and self-aware enough to take strong offense at the manipulative tone of fundraising letters. We live in an age where almost any information is available to those who want to find it. Todays activist donors do just that.

Donor's often know more about a subject than the front line people raising money for it. As well they should. So sending out these mail broadsides is certainly no good way to show respect for a donor's intellect or for their prior support.

The second reason this issue applies to On Fundraising, is that many telefundraisers mirror or amplify the sentiments expressed by these letters in a misguided attempt to manipulate donors into reactionary giving based solely on emotion. This works for now, however donors are self-aware and savvy enough to know when they're being manipulated. Surprisingly enough, they don't like it.

Todays donors aren't simply tithing blindly in the hopes that some good will come of it. More and more, donors support organizations as active participants in an effort to improve our world. How does a person like this feel when they receive a dunning letter dripping with sensationalized woe? Like a patsy.

All in all, these medieval scare tactics don't belong in modern fundraising. Yes psychology has its place in fundraising, but too often psychology is a euphemism for manipulation. Fundraisers who are good at their jobs are masters of speech, language, and persuasion. Its better to convince someone to give than to trick them into it .

http://smalldots.wordpress.com/2008/05/12/the-model-of-a-modern-major-fundraising-letter/

This is a story we've been following for well over a decade (see "Selected readings").  Improbable as it may seem that the Korean alphabet might be adaptable for writing an Austronesian language of Indonesia, there are some promoters of this idea who continue to push it enthusiastically: "An Indonesian Tribe’s Language Gets an Alphabet: Korea’sThe […]

[This is a guest post by Denis Mair]      Cai Xutie was a Taiwanese woman who ran a family farm with her husband in a village near Jiayi in central Taiwan. She was a rice farmer and had never attended a public school. After her husband died in middle age, she sold some of the land, […]

An interesting recent review article (Wooster et al., "Animal cognition and culture mediate predator–prey interactions", Trends in Ecology & Evolution 2024) argues for bridging the academic silos of "predator-prey ecology" and "animal cognition and culture": Abstract: Predator–prey ecology and the study of animal cognition and culture have emerged as independent disciplines. Research combining these disciplines […]

Oof, so busy! I finished up my paper(s) for SIGBOVIK and submitted them. Phew. I'll post 'em here after the embargo ends. I think the papers may be the canonical form of this particular project, but I'm starting on a visual version, which will probably become a video some time this month. (First up: I need to prep a live version for Unnecessary Detail, as mentioned in the previous post.) But right now I'm also on the West coast (in a car traveling from Los Angeles to San Diego) for a short family trip which was cut even shorter by the Spirit of Bad Aircraft Management of Spirit Airlines. Immediately upon arriving at the hotel I looked out our window and saw a little park and thought, "it would be fun to skateboard in that park," (I am not a skateboarder) and then, "did I already skateboard in that park 20 years ago in Tony Hawk's Pro Skater?" and I looked it up and yes, the Los Angeles level in THPS3 is based on that very park.

I thought I wasn't going to be able to make the SIGBOVIK live event at all because of this trip, but it looks like I will be back and might try to make it, depending partly on whether I can get any material together for a talk in time.

I spent most of my free time in March on hacking and writing for this silly paper, but sometimes the brain needs a break, and I continued with Teardown. I think this game is great. It is impressive technically and graphically. The sandbox is fun; I had a great time painstakingly disassembling an enormous blast furnace until the framerate became intolerable. (The way the physics works, the entire blast furnace can be held up by the connection of a single voxel. This is obviously totally unrealistic but it is pretty fun to try to blowtorch around an entire building and then try to hunt down why it is still standing.) But I was also impressed with how they managed to make the missions compelling too. There are a couple of ergonomic annoyances (like: There are limitations on what keys can be rebound to what, so I had to play with a controller. And the quick-save is great, but given that you might spend an hour setting up a heist in a level, it would be nice if you could make an in-level save that was a little less quick, just in case you accidentally stayed up to 2am). Getting close to the end of that one. I also played through Gunlocked, which was a good small Roguelike shoot-em-up. The powerups were really well done; it just could've used a bit more variety in the bad guys.

OK, getting a bit carsick here so I'm going to put the laptop away. See you soon.

The snake-like robot is being designed to autonomously navigate the challenging terrain of Saturn’s moon Enceladus, including descending into fissures in the moon’s icy crust. The skills it needs in order to explore this distant, unfamiliar world may make EELS well equipped to explore even more alien worlds, perhaps including exoplanets.

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I first saw the Iron Brigade banner and followed it down to reveal an actual BBF game being played. I recognised Kevin instantly and shook his hand. I gushed about his rules and told him how much I like them. I also explained about play testing it a month ago and he said he had seen the post, which was nice. It was only a quick hello as I had to race back to my own game.

I would have liked to have talked for longer and ask him lots of nerdy questions, like how to adapt them for AWI etc. still, I'm sure I'll bump into him again.

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CONTINUED TOMORROW.

Above: Every Autumn, I write a Halloween story, write it out on leaves (one word per leaf), photograph the leaves, and then leave them where.I found them. The story is then serialized, starting on October 1 and concluding on the 31st--All Souls Day.

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Open Road Media, which publishes several of my e-books, has announced a one-week reduction in price of Vacuum Flowers. Starting this October 18 and running through October 25, 2024, it will be available for $1.99. That's in the US only.

So if you're an e-book reader and have been curious about my novel... well, there you are.

And if you don't already know . . .

Vacuum Flowers is what used to be called a Grand Tour of the Solar System. Rebel Elizabeth Mudlark is operating off of stolen wetware and on the run from very dangerous people. She arrives in the inner system on a cometary orbit, which takes her through a great variety of human and post-human societies, including the most dangerous one of all--Earth.

That bit about the cometary orbit is not incidental. Comets enter the Inner System on either a hyperbolic or a parabolic orbit. The one is open, the other closed. I knew that the book would end with Rebel Elizabeth Mudlark standing in the stardocks with a coffin at her feet. But I didn't know if the person within the coffin would be alive or dead or if REM would someday return to the Inner System or was leaving it forever. I only decided that when I came to write the last page.

*

 .

CONTINUED TOMORROW.

Above: Every Autumn, I write a Halloween story, write it out on leaves (one word per leaf), photograph the leaves, and then leave them where.I found them. The story is then serialized, starting on October 1 and concluding on the 31st--All Souls Day.

.

CONTINUED TOMORROW.

Above: Every Autumn, I write a Halloween story, write it out on leaves (one word per leaf), photograph the leaves, and then leave them where.I found them. The story is then serialized, starting on October 1 and concluding on the 31st--All Souls Day.

.

CONTINUED TOMORROW.

Above: Every Autumn, I write a Halloween story, write it out on leaves (one word per leaf), photograph the leaves, and then leave them where.I found them. The story is then serialized, starting on October 1 and concluding on the 31st--All Souls Day.

.

CONTINUED TOMORROW.

Above: Every Autumn, I write a Halloween story, write it out on leaves (one word per leaf), photograph the leaves, and then leave them where.I found them. The story is then serialized, starting on October 1 and concluding on the 31st--All Souls Day.

.

CONTINUED TOMORROW.

Above: Every Autumn, I write a Halloween story, write it out on leaves (one word per leaf), photograph the leaves, and then leave them where.I found them. The story is then serialized, starting on October 1 and concluding on the 31st--All Souls Day.

.

CONTINUED TOMORROW.

Above: Every Autumn, I write a Halloween story, write it out on leaves (one word per leaf), photograph the leaves, and then leave them where.I found them. The story is then serialized, starting on October 1 and concluding on the 31st--All Souls Day.

.

CONTINUED TOMORROW. (For those who came in late: The first sentence was posted here on October 1 and a new sentence was posted every day thereafter.)

Above: Every Autumn, I write a Halloween story, write it out on leaves (one word per leaf), photograph the leaves, and then leave them where.I found them. The story is then serialized, starting on October 1 and concluding on the 31st--All Souls Day.

.

CONTINUED TOMORROW. (For those who came in late: The first sentence was posted here on October 1 and a new sentence was posted every day thereafter.)

Above: Every Autumn, I write a Halloween story, write it out on leaves (one word per leaf), photograph the leaves, and then leave them where.I found them. The story is then serialized, starting on October 1 and concluding on the 31st--All Souls Day.

. 

CONTINUED TOMORROW. (For those who came in late: The first sentence was posted here on October 1 and a new sentence was posted every day thereafter.)

Above: Every Autumn, I write a Halloween story, write it out on leaves (one word per leaf), photograph the leaves, and then leave them where.I found them. The story is then serialized, starting on October 1 and concluding on the 31st--All Souls Day.

.

CONTINUED TOMORROW. (For those who came in late: The first sentence was posted here on October 1 and a new sentence was posted every day thereafter.)

Above: Every Autumn, I write a Halloween story, write it out on leaves (one word per leaf), photograph the leaves, and then leave them where.I found them. The story is then serialized, starting on October 1 and concluding on the 31st--All Souls Day.

.

CONTINUED TOMORROW. (For those who came in late: The first sentence was posted here on October 1 and a new sentence was posted every day thereafter.)

Above: Every Autumn, I write a Halloween story, write it out on leaves (one word per leaf), photograph the leaves, and then leave them where.I found them. The story is then serialized, starting on October 1 and concluding on the 31st--All Souls Day.

.

CONTINUED TOMORROW. (For those who came in late: The first sentence was posted here on October 1 and a new sentence was posted every day thereafter.)

Above: Every Autumn, I write a Halloween story, write it out on leaves (one word per leaf), photograph the leaves, and then leave them where.I found them. The story is then serialized, starting on October 1 and concluding on the 31st--All Souls Day.

.

CONTINUED TOMORROW. (For those who came in late: The first sentence was posted here on October 1 and a new sentence was posted every day thereafter.)

Above: Every Autumn, I write a Halloween story, write it out on leaves (one word per leaf), photograph the leaves, and then leave them where.I found them. The story is then serialized, starting on October 1 and concluding on the 31st--All Souls Day.

.

CONTINUED TOMORROW. (For those who came in late: The first sentence was posted here on October 1 and a new sentence was posted every day thereafter, to make a complete story.)

Above: Every Autumn, I write a Halloween story, write it out on leaves (one word per leaf), photograph the leaves, and then leave them where.I found them. The story is then serialized, starting on October 1 and concluding on the 31st--All Souls Day.

.

FINIS

Above: Every Autumn, I write a Halloween story, write it out on leaves (one word per leaf), photograph the leaves, and then leave them where I found them. The story is then serialized, starting on October 1 and concluding on the 31st--All Souls Day.

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This year's Halloween story, written on leaves and serialized daily on my blog, one sentence at a time, is done. Every day in October, I added to it, it reached its last words on Halloween.

Funny thing, though. In conversations with two different friends, I learned that neither of them had realized it was a story. They each thought I was just posting random sentences written on leaves. One of them is an artist, and thinks primarily in visual terms, so I thought at first that was a misunderstanding curious to her. The other, however, is a well-known writer and, what's more important, quite a good one. I have no idea what's going on there.

Long story short, at my behest, my son Sean, put all the photos up on Imgur, subtitled. So, if you didn't realize that they told a story... Or if, somehow, you weren't able to hold all the sentences in your head until the story was complete... Now you can find out what was going on. (The stone angels mark the ends of paragraphs.)

You can find it by clicking on the link here.

*

 .

So Tim Sullivan and I are, back in the early eighties, intensely browsing the science fiction paperback section of a bookstore when the young woman running the place comes up and brightly asks, "Are you interested in science fiction?"

Tim kind of shuffles his feet and, looking down at them, says, "Not really."

"Don't let him kid you!" I say. "This is Tim Sullivan, the famous science fiction writer. You may or may not have his books in stock, but you've definitely sold a lot of them."

"Really!" the clerk says, and addressing him directly, "How did you decide to become a science fiction writer?"

"Well," Tim replies, "I suck at art or music, and I'm not any good with my hands, so..."

And now you know why you probably have never heard of this good man.

The last time I saw Timothy R. Sullivan was at Gardner Dozois's funeral. He had lost a little weight and shaved off his unfortunate mustache and, to everyone's surprise, it turned out that he was handsome. Not that that mattered to anyone when he and Gregory Frost shared rooms on Brown Street. They two and Gardner Dozois and I were the beating heart of science fiction in Philly back then. We were, in the parlance of Saturday Night Live, "wild and crazy guys."

So the news that Tim died recently, of congestive heart failure, leaves me mourning not only him but a time in my life when we were all undiscovered geniuses only a matter of months away from the astonished recognition and accolades of a grateful world.

Old people like to say that youth is wasted on the young.  They're full of it. We all had great fun, great plans, and a heartfelt appreciation of how lucky we were to have such friends as each other. Somewhere in there, we managed to write a lot of worthwhile fiction.

Tim was a solid writer. He was a finalist for the Nebula Award. And he and I collaborated on a story, "Fantasies," which, it must be admitted, was not much of a much. He had a good start on a writing career when he veered into movies, acting in Somtow Sucharitkul's The Laughing Dead and co-writing and starring in Twilight of the Dogs, both ultra-low budget endeavors. He moved to California and then to Florida and focused on  scriptwriting and we fell out of touch. I regret that.

Rather than mope about the loss of someone who was a very good friend (we had lunch together when our friendship was new and when Tim objected to me picking up the check, I said, "Be honest. You're a writer, a creator. Don't you honestly feel that the world owes you a living?" Tim thought about it and replied, "Yes." I got out my wallet and said, "I've been authorized by the world to say: Fuck you. You're lucky to get a sandwich"), I would like to celebrate those days when we all knew we were the best thing about to happen to literature ever.

And you know what? I am authorized by the world to say we were.

Rest in peace, Tim. You never got your just deserts. But maybe nobody ever does.

Above, l-r: Gregory Frost, Gardner Dozois, Tim Sullivan, John Kessel (not a Philadelphian, but visiting), and me. Those were the days.

*

*I

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