Remarks about 'Scream'

 

Another way to look at the 'Scream' series, another angle of analysis.

The usual critique of that film -and its subsequent saga- is that it's a parody of slasher movies where the genre is being played for laughs thanks to the self-knowing references to relevant movies.

In fact, my contention is: its premise is not the subverting of the horror genre ...it is the very fanatical attachment to horror movies that some youngster characters take too far (this is particularly true of 'Scream 5' where the writers drop the pretence altogether and explicitly offer this rationale as the central explanation). In other words, 'Scream''s central theme is not violence, it is not about serial killers - it is about transposing into real life -or at least fictional real life in imaginary Woodsboro- cultural constructs (namely horror movie tropes, but also online sensationalism (in was it 'Scream 2'...?)).

All of the clever intertextual references are not the proverbial cherry on the cake - they are the very foundation upon which the series rests.

The deranged killers base their crimes on horror movie edicts (this is their prime motive); the smart-arse self-knowing characters who comment the events make no mistake as to what kind of logic is being enforced as they continually replace them within the framework of horror movies (thereby removing themselves from reality to take a *cool* place within the realm of cultural commentary); and we get our enjoyment from assessing how the movie departs from conventional slashers and pokes fun at them

and that's a bit of a problem.

That's a bit of a problem insofar as the movie instrumentalises violence, it turns what is after all human suffering into a pretext for clever p*st-m*dernism play. (Granted, this is the case for countless other books, plays, and movies – but we are currently discussing 'Scream'.) Seen in this light, we are not far away from the Tarantino world, where violence is a mere pretext for looking *cool* and selling retro soundtracks.

What 'Scream' also does is: it's having its cake and eating it. I mentioned the fact that it pokes fun at slasher conventions, but it does so all the while proceeding as a slasher of its own (see also 'Natural Born Killers', “Man Bites Dog', 'Funny Games' etc, where this duality has also been questioned, alleged, pointed out, denounced – you take your pick).

Just for the fun of it, here is a modest proposal.

Right from the start (the original film), and in a further twist of the screw (since 'Scream' is itself parody), the screenwriters introduced the existence of a parody doppelganger : the 'Stab' movie. The logical “meta” development would be to develop and increasingly feature that cinematic double to the point where it parasites the Woodsboro/'Scream' universe (cf. the footnotes in 'Infinite Jest', 'The Marabou Stork Nightmares' -or 'Pale Fire' in its own way- gradually taking over the main text) and inspires further murders, this time trapping its characters into a head-spinning mindfuck obsession with their very own cinematic (that is to say, 'Stab'-related) representation. How meta can you go!!

Addendum / Correction. Within the 'Scream' cannon, 'Scream 3' is worth mentioning. That time, the initial motive was not the enforcement of horror movie logic by American fanboys – but a direct denunciation of 'couch casting'. When you bear in mind that the movie got produced by none other than Harvey Weinstein, that's quite startling.

a quick review of 'The Tragedy of Macbeth' (sure to be amended and edited later)

 

re. The Coen's 'Macbeth' (for the 1st time, there's only bro directing): first of all, the art direction (photo and set) is sensational (see my take on screengrabs below and on my instgrm page). Contrary to what some critics wrote, it is not a noir film ...but a white one. Characters emerge out of, and fade into, an omnipresent spectral white mist that works wonders in the chosen -not entirely, as a matter of fact- black-and-white monochrome colour scheme which brings to mind the likes of Welles's 'Othello', 'Night of the Hunter', Kurosawa, de Chirico paintings, early Borowczyk ('Goto Ile d'Amour' and 'Blanche'), 'Caligari', the video for 'Every Breath You Take', Scola's 'A Special Day' and so on. ( + Bauhaus 'Fade to White' and my very own 'Whiteout' film scenario available at Am*zon in the '54+1 Stories' compilation available here: The Rise Of The Shadows - 54+1 stories: Synopsis 1996-2006 - Kindle edition by Thivend, Loig. Humor & Entertainment Kindle eBooks @ Amazon.com. )

Text-wise, it felt like the screenwriters got rid of pretty much the entire middle part of the play, jumping from the premise and first act (your man gets the crown and instantly goes mad, as does his wife) to the final showdown (the wronged Royal descendants come back to defeat him -the end) and it... works. It doesn't fly in all diegetic and literary directions but instead doubles down on the paranoid retribution instantly affecting the curses couple. And it goes fast too (compared to the standard 3+ hour duration on stage).

This being said, the writers make sure to leave the scene with the hungover doorman telling his ribald jokes. We have to wonder why. … Well, the noted inclusion of his speech about drink related male impotence and despair has got to have substance, relevance, importance ...especially when the issue of parenthood (see what I have done here?) is crucial to the plot. Fancy that, lifelong warrior Macbeth and his ruthless wife are childless!

Now for the acting. Getting Denzel Washington to take on the part was an audacious move. As I saw it, Washington plays Macbeth as an already defeated, worn out bruiser who never really seems particularly bothered about getting to the throne in the first place. The prophecy falls upon him, and his wife adds to the pressure. The actress-and-I-said-actress who plays the « three weird sisters » is terrific: seriously unnerving, what with her arachnoid postures and white ash covered face pinpricked with malevolent black eyes like the proverbial pissholes in the snow (man-with-the-phone-at-the-party in 'Lost Highway' anyone?).

But the best character / figure / acting performance for me has to be the skinny bearded narrator who appears at regular intervals to deliver tragic news, a sexually ambiguous figure whose allegiance is never really clear (word in your ear though: he is not exactly a nice guy). This creature moves about, ever so slightly swinging his hips, in a vaguely bird-like tight fit black tunic that screams 'hip', 'Japanese' and 'get me post-modern chic on the line' - kudos also due to the costume department. The way I saw it, he displaces Macbeth as the central character, depriving him of prominence and narrative drive, seamlessly fitting inside the Coens universe instead (remember their narrator in 'Lebowski' or the book-ending of 'No Country for Old Men'). On this subject, let us bear in mind the title: 'The Tragedy of Macbeth'. In this here version, Macbeth is at best a mere protagonist, an anti-hero caught up in an ever worsening chain of events that buoys him about – in other words, a typical Coen figure. He even disappears before the end, like the cowboy of 'No Country'.

In summation, terrific work from the Coen bro ...but then has he/they ever set a foot wrong! (Haven't seen 'A Serious Man' yet though – heard some less than flattering comments about it). De la belle ouvrage and no mistake.

'Dexter' and Loneliness

                                                                    Liteweight Pop Psychology

Back in the days (end of the 90s), I ran a huge database called 'Film Incoherence'. Its multiple thematic chapters allowed me to explore all sorts of topics and I came up with some theories about films' or TV series' hidden sub-texts. For example, I contended that 'Baywatch” was about families and, in particular, the need for estranged families / isolated member types to reconvene, to find reassurance and comfort within a good old nuclear unit.

I also had the feeling that 'Dexter' is about... loneliness.

The premise in the series and the books is that Dexter is one of a kind, unlike any other creature -let alone any human-, doomed to hide his secret nature forever, unable of true communion with people. This idea is regularly reiterated.

1)This allows for the recurring plot structure -that some may find stripped the TV series of any surprising development- that saw Dexter come across an alter ego (usually another serial killer) whom he confides in, only to realise mid-way through that his ally-cum-enemy has turned against him in - in every season.

In other words, Dexter repeatedly “finally finds someone” (ahhh). He meets his match and is granted a chance to open up and (to variable extent) pour his heart out, maybe teach his modus operandi - in any case form some sort of alliance. ...The inevitable come-down that is the second half of each season is all the crueller.

Remember the beautiful music chosen for the closing theme (by Daniel Licht): it is not exactly uplifting. I always feel that the composer means to express this idea: forever lonely despite an incredible opportunity to somehow bond, Dexter has no choice but to live another day.

2)Call that irony or perversion. Now, this alter ego to whom Dexter is able to relate is obviously not the one character a man is supposed to share a special connection with ….his wife Rita. (I could bring up at this juncture the subject of the three children but this complicates things, especially with regards to the line taken by the novels: the series seriously departs from them.)

But in fact the theme works a contrario.

3)A qualifying component of the underlying theme is that in fact Dexter is not alone.

First he addresses us, the audience (see also 'Mr Robot'); second he is constantly visited by the spirit of his adoptive father Harry. (Harry crucially was the one who spotted Dexter's true nature and nurtured it.) Harry knew him and -thanks to the magic of 'flash-back' sequences- still knows him – and even often engages him.

Also, for someone having to hide his true identity, Dexter is highly social, very active. Do a quick count: he probably interacts with a large dozen people in every episode! He no otaku, is our Dex.

Finally, I need to make a point about the ending of the original series. It has come to my understanding that a bunch of American fanboy keyboard warriors have decreed that it is awful, worst-ending-ever, etc etc. etc. I most certainly do not agree. With regards to my argument, the final sequence is spot-on: Dexter is now completely alone. Gone is the internal monologue: the three final scenes are silent, the ghost of his mentor nowhere to be seen. To all intents and purposes, Dexter has now gone into even greater hiding, and with no visible hope of being able to get in touch with fellow crime specialists. It is poignant. A hollow husk of a man, he looks shell-shocked.

Other angle of analysis: 'Dexter' is about... parenting. (cf both the original and new seasons)

No Time to Die (but plenty to go for a refill or two)

 I had rather mixed feelings about 'No Time to Die'.

I shall therefore explain why it bored the pants off me - then I may include a conclusion that mentions one good thing about it.

Clocking at about 3 hours and five quarters, the film takes its place inside the saga that started with the terrific 'Casino Royale', once again pitting Daniel Craig against the Spectre network (yes, thank you, I know about earlier movies too). 'No Time to Die' can thus be called the fourth episode of a series. But, where the terrific 'Casino Royale' made no bones about reminding everyone of Bond's true nature (he's a hit-man, “the brawn to M's brain”, her “battering ram”), 'No Time to Die' chooses to present Bond as a man haunted -well, as much as Daniel Craig can do haunted...- by his love for Dr Swann (Léa Seydoux) and so most of the story revolves around Bond and Madeleine enjoying the perfect romance only for Madeleine to betray Bond who then dumps her and then misses her because the craggy old git still loves her and she still loves him but he can't admit it to himself she can't admit it to herself and that's even before they have to admit it to each other but then they do and -hey, ho- it's all systems go again until she quits him and he chases after her and then they get together again and then they split but he still loves her oh what's a man to do, he's -like- totally sad yeah, that's when he discovers -and here we veer into 'Superman Man of Steel' territory- that she has a daughter but, hey, she's not his so who on earth is her dad, could it be the bitch has truly double-timed him for real, dammit he was right all along, oh the pain, the anguish, the clenched teeth that serve as Daniel Craig's introspective expression, except hell no she hasn't, she has always loved him and so has he, they were always meant to be togeva it must have been an act of God then let's leave it at that, agreed? Not agreed, replies Madeleine who may -or may not- have been a sleeping triple Spectre agent gone rogue who then decided to (please note: this reviewer has only seen the first three hours) demonstrate her true feelings to him -that's James Bond that is- in a shocking finale where she sacrifices herself at his hands to save her child's life, thereby revealing the true depth of her feelings for him (like he hasn't been there before ha ha ha) and ensuring that Madeleine Junior will grow up to be an assassin just like her mum and her (presumed/honorary/cuckolded) dad (Reader's voice: 'Wait a second, are we reviewing 'No Time to Die' or 'Kill Bill'??'). ...Funnily, James saw the funny side of it.

Mixing it with these utterly fascinating -and not at all telegraphed- twists, we hear about some (obviously) nefarious world domination plan hatched by a professional malcontent or something - but frankly it's hard to give a flying fuck about it.

Daniel Craig scowls. Daniel Craig stares hard. Daniel Craig snaps. Babes -as befits this 'woke' age- kick arse. Ralph Fiennes condescends. Ralph Fiennes does Ralph Fiennes. Ralph Fiennes oozes upper class. Ralph Fiennes exudes good old patriarchal benevolence. Ralph Fiennes grumps, Ralph Fiennes snarls, Ralph Fiennes sacks 007 once more - and then Ralph Fiennes gets all pally with Bond in the next scene, go figure. Roy-not-Greg Kinnear does his Roy-not-Greg Kinnear posh frowny thing. Planes turn into submarines. Cars fly. French babes rule. Q touches up his glasses. Q hacks entire networks faster than you can say 'Mr Robot'. The Italian country is lush. Scandinavia looks awesome (in the two opposite meanings of the term). Aston Martins come with machine guns, bullet-proof windows and disco lights. Daniel Craig looks great in a tight tuxedo. Cocks crow. Horses neigh. Fish splosh. Hippos growl. Elephants trumpet. Man Citeh and Qatar St-Germain are a disgrace.

And so the franchise endures.

Crimelord with physical deformity -check. Crimelordevillaird on an island -check. James Bond quits oh no he doesn't -check. James gets to run like a mini Tom Cruise -check. Villain wears designer minimalist black clothes (the sure sign of a pervert in any American blockbuster for the last thirty years) -check. Oh, and Stevie Wonder is probably the only person in the world who will have missed that *subtle* belly patting gesture by James's missus in the station scene. 

Interestingly (admittedly, some will judge I use this term rather loosely), I was amused by the geo-political take on the crimelordevillaird location. I won't spoil it for you (it's situated between R*ssia and Ch*na), you'll have to discover it for yourself.

Also, other connoisseurs (sic) (the correct spelling is 'connaisseur'!!) of James Bond movies will appreciate the subtle inclusion of 'We Have All The Time In The World' during the early lovey dovey scenes... ie it ain't gonna end well!!!

Things I didn't like.

The bleeding when oh when oh when oh when oh when oh WHEN will they give us a fuckin' break pale-blue-and-orange colour scheme, fortunately supplemented at times by the recent addition (think the delightful “les petits meurtres d'Agatha Christie” palette) of dayglo turquoise with dark green. Superb photography otherwise – one can never go wrong with night-time neon lights, isn't that right Christopher Doyle? (see the skyscraper night-time fight-scene in 'Skyfall' and the 'John Wick 3' glass-walled multi-fight extravaganza)

The pre-opening credits scene with the (…....) (…......) a (…......) in the (…...), thereby leading her to a life of (…......) (….....) (…............): What the hell is this? An imitation Giallo? Scandinoir for beginners? A effing Bruce Willis vehicle????? Not only that, but its unforgivable mistake is that it also robs us of the customary turned-up-to-eleven opener, the trademark 007 hook. 

You may have noticed that I have hardly mentioned the villain. That's because he hardly features (puts in a cameo at the end, fucks off shortly thereafter) what with the focus of the film -or maybe this piece, mind you...- being Bond's love aches, which can only lead to the unavoidable question:

Who gives a flying fuck about that?? 

By the look of it, 007 will alternate week-ends in the next instalment (“And could you pleeeease for once make sure she has all her school things – or else she'll get behind with her homework again and I'll need to get Q to hack into her school detention record!!”).

For this is no longer the James Bond of yore. Gone is the international playboy, the carefree philanderer, the flamboyant champion at everything. The advent of AIDS, the new (and catastrophically overdue) ecological concerns, the rise of Political Correctness, the arrival of Daniel Craig, the change of editorial direction - all of this has vigorously scrubbed the character of any of the kitsch / camp connotations and unrealistic panache that threatened to turn him into a joke during the 70s and 80s. The current reboot is only logical, following the change of gear with Timothy Dalton. Then Pierce Brosnan appeared – and his tenure did not quite stick to the new, hardened formula. The Daniel Craig period certainly does. His Bond is less extravagant, more stolid. He is less of a charmer, and more of a driven operative. He does not look as ostentatious, but is more brooding (which reminds me of that great line in 'The Trip to Italy' with Steve Coogan and Rob Brydon, something along the lines of: “It's OK to look broody when you're 20, it makes you look all deep and mysterious - If you do it in your forties though, you look grumpy.'). Put another way, the Craigian Bond is less fun. Less over the top. Maybe the appearance of super-efficient Jason Bourne had something to do with it; maybe the producers are trying to make the character more relatable.

Things I liked.

Ana de Armas. One can never get enough of Ana de Armas, who is originally from Cuba ...and who shares her birthday with me :-))).

Daniel Craig. You may not believe it, but I certainly like our Daniel, and always did. I totally respect his decision to leave the Bond franchise (which reminds me of Hugh Jackman explaining what a nightmare it had become to get back into superhuman shape for each new 'Wolverine' instalment). Craig has a lot to offer elsewhere - go check out 'Knives are Out' for instance, where our David is having a ball. In my eyes, Craig has been a terrific Bond (disclosure: he was the one I wanted to see get the job). Now is probably the right time to leave, and hopefully pass the baton to sex-on-legs Idriss Elba (Just imagine... Gasp!!).

Ever since the terrific 'Casino Royale', the timing and utterance of the mandatory 'Bond. James Bond.' line has been a pleasure to look out for. They sure haven't let the side down in this one! (Addendum: and not once, but twice.) Unfortunately, the producers seem to have retired the other trademark 'Oh, Jaaames' line. It worked perfectly in the Roger Moore era ...and therein shall you find the reason why it doesn't anymore. It just wouldn't fit Daniel Craig (surely no-one will have forgotten the disastrous line they made him say about using his little finger in the terrific 'Casino Royale'? Shudder....).

So there you are.

I could go on and reveal how Bond dispatches secret traitor M at the end and flies off to winsome Qatar, but that would be cheeky. Away you go, our David – and best of luck to his successor! (Wanna go for a -say...- black woman as an outside bet? Done! I'll give you 50-to-1 reduced to a 5-to-1 before end of play if you have the balls it's up to you - grab it while you can, just for one day, let the dog see the rabbit, chop chop, luverly jubberly, I'm slashin' me own throat here!)

Halloween PlayList

Halloween Soundtrack: eine kleine Selektion of lesser known tracks and personal favourites of mine to bore the shit out of you.

Japan-Oil on canvas (instrumental)

Carmel-I'm not afraid of you

The Sisters of Mercy-Neverland (the 13 minute version)

Alien Sex Fiend-In and out of my mind (from their classic 'I'm living in a 24 hour maximum security twilight zone' album)

Joy Division-I remember nothing (the last track on 'Unknown Pleasures')

Sinead-Danny Boy (a capella on 'The Late Late Show')

Cocteau Twins-I could die in your rosary (from 'Garlands')

Smog-The only mother (extra track on 'Knock Knock')

Interpol+David Lynch-I touch a red button

This Mortal Coil-Come here my love

Colourbox-In this arena

Oberkampf-Mes amis sont morts

Lisa Gerrard-Sanvean ...you may need a full minute of silence after this one.

Astor Piazzola-devant la glace ('Armaguedon' soundtrack)

Sparklehorse-Saturday

Anya Taylor-Joy-Downtown ('Last Night in Soho' soundtrack. Girl can sing.)

Lou Reed-Rock menuet

The Avalanches-Barbara Payton song, 1minute41, probably my "song of the year"

Antony and the Johnsons-Fell in love with a dead boy

David Bowie-Warszawa

Pink Floyd-The gunner's dream

Cliff Martinez-opening credits of 'Only God Can Judge Me' (basically a rip-off of Bernard Herrmann's 'The Day The Earth Stopped' but, hey)

Nick Cave-I need you -off 'The Skeleton Tree'. Yep.

Mary Margaret o'Hara-You will be loved again

Dark-Monologue at the end of season 2

under consideration:

Johnny Cash with U2-The wanderer

Will Callahan-The breeze (cover version)

REM-Country feedback

Georges Delerue-Police python 357 opening credits

Smog-To be of use

Massive Attack-Come live with me

Yazoo-Winter kills

closing with Pink Floyd-Pigs on the wing

I didn't want to simply copy-and-past the 'That's What I Call Goth vol. 25' listing with your usual Cure-Lovecats, Smiths-Heaven knows I'm miserable now, Bauhaus-Ziggy stardust, Black-It's a wonderful life, Metallica-Enter sandman, Zig Zig Sputnik-You sank my battleship PP51, Kelly Osbourne-Fade to grey, the theme choon to the X Files and Dr. Who, Nick Cave-The weeping song, Blur covers The sun ain't gonna shine anymore etc.

The Future

 

Re. PC, internet, smartphone: what’s the next big technological epoch? | John Naughton | The Guardian / holograms of Elvis, Tupac, Abba touring etc., I wager that the next 'epoch' -for the rich part of humanity, that is- will consist of tailoring our personal -either private or communal (see below)- reality by peopling it with impressively re-booted (check out "deepfake") figures of the past or present.

Namely: immersive full helmet or bodysuit on, we will be able to live out our fantasies in our own dreamworld with our favourite celebrities who will never die. In this new re-created world, our loved ones will never leave us; our (political / religious / racial / sexual / class structure / sports supporting etc.) tribe will rule the Earth; we will be able to enforce our own ideology and standards; we will have sex with / slay whichever celebrity is available for digitisation and so on. Oh, and the Nazis -you knew this was coming- did not lose WW2.

In short, we will create our own reality.

The technology already exists – and I can't possibly pass up the opportunity to rehash the old William Gibson quote: “The future is already here, it's just not evenly distributed”. With this fact on one hand and another side of the equation (see below) firmly on course on the other, I daresay we are looking at no further than a very real possibility of this happening in around twenty years' time, if not before.

Sure, this is -literally- “science-fiction”, but science-fiction at its most divinatory, and you can easily reference the likes of Phil K Dick, the Bruce Willis "Surrogates" movie, 'The Matrix', 'The 13^th Floor', 'Westworld', 'Elysium', 'Land of the Dead', the 'Black Mirrrrr' episode with Jesse Plemons parodying 'Star Trek", and so on and so forth via countless variations on the theme. Inevitably, I seem to remember that there was an episode in the first season of 'Black Mirrrrr' along these lines + hasn't the Net and its sosholmedia already created 'silos' and 'echo chambers' where niches prosper away from reality and its attending alterity?

But this is not all.

Meanwhile, the rest of humanity -probably around 99% of it- will suffer the apocalyptic effects of Global Warming / Climate Disruption. Everyone with half a brain knows that this world will be seriously messed up by 2050, prompting local conflicts, mass migration, the rise of ever more aggressive religion, a chasm between “the West” and the rest, open conflict between the haves and the haves-not.

The objective of life will be to escape the burning world outside for however long as possible and to qualify for the cocooned shelter of such plugged-in alter-life. The high-tech havens will come in gradual levels of sophistication, so as to offer the seduction of possible admittance to the general public and ensure its active support. (Needless to say, the 0,1% of the 0,1% at the top will remain well out of reach, in New Zealand or Nebraska.)

In turn, these new high-tech microcosms will bring about the emergence of new working classes/strata trained to build them, maintain them, tend to them, service them, and safeguard them in exchange for the relative safety of living in their vicinity - think MASSIVE security at the borders of the enclaves. Not only that, but these technology-based communities will also boost military enterprising: they need raw materials and energy supplies (Ever heard of the curious appearance of Chinese scientists all over Africa? Ever wondered why?). Deals will be cut with tribal warlords, this is not going to be pretty but, hey, (PS added one week after my original argument -Talk about prescience!) people will be able to enjoy Zuckerberg's “metaverse” fantasy...

#augmentedreality #transhuman

...Pro'bly ought to write a story about it now. Loig Allix Thivend, All rights reserved.

Time Travel Scenarios

 

Time Travel Scenarios

1)One can only travel along a fixed timeline.

The idea is: the time traveller is a tourist that has no agency over the events unravelling.

First variant: he/she can only observe what is going on. (cf. The tourist disasters of 'Fringe')

Second variant: no matter what the time-traveller does, events have been pre-ordained and will occur regardless. ('la Jetée'->'The 12 Monkeys'; 'Donny Darko'; 'Terminator 3')

2)Actions change the future.

In this scenario, the time traveller can act and therefore alter the chain of events. (cf. Bradbury's 'A Sound Of Thunder'; 'Primer'; 'The Butterfly Effect'; 'Happy Deathday'; 'TimeCop')

The German series 'Dark' plays the second hypothesis against the first one.

...And then throws in the third logic for good measure!

3)Creating alternative chains of events.

Every action creates a new chronology that branches out from the original timeline: it's the multiverse theory. (This is what the Terminator makers resorted to in the 5^th? Movie, having pretty much exhausted the second train of thought.).

PRACTICAL MEASURES TO FIGHT THE EARTH'S DESTRUCTION

People may feel helpless; think that the apocalypse going on has nothing to do with them; or else take the easy way out and “blame the government” or “the others” - which is always a convenient cop-out.

This would be the wrong attitude to take because there ARE things we can all do, every one of us - Remember that the world starts with YOU. Yes, you can. Every little helps. So here is a quick list of concrete, realistic, feasible resolutions I came up with.

WE CAN ALL DO SOMETHING AT OUR INDIVIDUAL LEVEL

PRACTICAL MEASURES TO FIGHT THE EARTH'S DESTRUCTION

WHENEVER POSSIBLE...*

Go vegetarian.

Buy fewer clothes (clothes production is one of the most polluting activities on Earth). Wear yours as long as you can. Don't change your mobile phone frequently. Recycle.

Do less laundry (it's equally very polluting) - and not for single items.

Recycle.

Take the stairs, not the lift. Walk or cycle whenever you can.

Go vegetarian.

Reduce your avocado and chocolate consumption (yes, :-((( ): producing these uses up huge quantities of water.

Buy local products.

Use public transport; carpool. Take the plane as seldom as possible, and just for travel that would be impossible otherwise.

Don't keep engines running / idling. Switch off the light, turn off the tap, use air conditioning as little as possible. Unplug electrical appliances when not in use.

Write fewer emails. These burn up energy too.

Go vegetarian.

Eat smaller portions - don't waste food.

Use washable, recyclable glass bottles – not plastic ones.

Plant something (a tree, flowers, a plant...).

Buy second-hand. Don't support the soul sapping, self-defeating, and ultimately senseless drive to produce ever more. THERE IS NO PLANET B.

*Yes, I know the inevitable reply: "But, but, with me it's different (I can't do this or that in my position)..."

Also:

Ban cruise ships and bitcoin – they are monumentally polluting.

Close down golf courses. Only wankers play golf anyway.

100 Practical Ways to Reverse Climate Change (nationalgeographic.com)

a quick piece on The Ladyboys of Bangkok with regards to the current tour

 

                                                         (please note: unofficial artwork)

Born in 1998 in Edinburgh and applauded by -estimates vary- a hefty couple of millions of spectators already, The Ladyboys of Bangkok have carved themselves a unique place between cabaret, burlesque and musical.

Each year brings a new theme, around which the show riffs, builds on, ducks and weaves, plays with, and generally subverts. This year (or rather last – see explanation later) is no exception: it's called 'Flights of Fancy' -geddit?????- and proposes dance numbers based around the idea of taking a trip “to paradise” (as the opening song by the Pet Shop Boys goes). And so it starts with your air hostess -not to be confused with a Trolley Dolly hell no- taking you through the pants wetting procedure.

                                                    (please note: unofficial artwork)

The show, which involves a dozen dancers, comprises about a couple dozen songs and features -if I remember correctly- some four hundred costumes, lasting nearly two hours divided in the middle by a ten minute break. Pretty much like a football match, then (easy confusion to make).

What with that COVID thing, contact with the stars of the show is now prohibited – meaning there are no longer go-go girls -or boys- dancing in the middle of the audience and you can't have your photo taken with your favourite anymore – a practice anyone who has ever been to Thailand will recognise. 

This year's show is, in effect, last year's - the 2020 tour having been understandably cancelled.

                                            (please note: unofficial artwork)

Aficionados of double-entendres, risqué-but-not-quite dance routines, pearl clutching, fishnet stockings, fatal misunderstandings and strategically placed tassels will feel right at home. But this does not make it a specific / target audience: whole families -over eighteen though- flock to see it. Plus a huge majority of women, stag nights, birthday nights out, gym bunnies, couples in search of inspiration, straight, gay, inbetween, tourists, dance students, as well as occasional Thai nationals (I can still remember a venerable grandmother being saluted onstage).

Musical genres covered: not just current hits like Rihanna Beyonce et al, but also oldies-but-goldies (like 'Grease'), rock (like Queen) or film musicals (like 'The Sound of Music' or 'Moulin Rouge'). I have yet to see them perform to the sound of Extreme Noise Terror or Godspeed You! Black Emperorrr but I live in hope.

                                          (please note: unofficial artwork)

Finally, I would like to make a point about the performers' genuine professionalism. Should you ever attend the show several times in a row, you will be impressed by how well rehearsed they are, hitting the exact same spots / poses every time. I have also seen them perform in front of about fifteen people in the middle of a midweek afternoon and they gave it their all regardless. Compare and contrast with rock bands eh...

Verdict: put your seatbelt on, turbulences ahoy!

"sous contruction"

 

Pression d'une cent-quarantaine de kilos inégalement divisée, appliquée seize fois avec un volume d'une trentaine de décibels également répété seize fois – puis une pause. Deux souffles, l'un plus fort que l'autre. Frôlement, objets déplacés, crissement, raclure, enfoncement métallique, déclic. Pression, grincement, déplacement d'air, début d'équilibre de température oscillant entre 16 et 18,2 degrés. 

Pressions sur le linoléum, reconfiguration des éléments dans l'espace. Montées de décibels, froissements, transfert de poids, grincements métalliques. Pas maintenant plus feutrés, voix. Glissement, appel d'air, détonation, rapide déversement. Pas, voix, clinquement de verre, déglutition, nouveau transfert de volume liquide. Nouveaux pas et petite détonation. Pas glissés, synthétique sur linoléum, velours, métal. 

Bruit de sommier, voix, crissements de tissus, dépliage, "pop" de boutons, "zip" de fermeture-éclair, réarrangement de poids, grincements, glissement. Exaltations d'odeurs, évaporation, réorganisation de la surface acoustique, nouveaux grincements, pressions. Lin sur cotton, synthétique. Claquement, disparition de la luminosité, expirations de moins en moins rapides ou bruyantes.