Want to know why and how those tacky little games - Farmville and Mob Wars - have taken over Facebook? Head over to TechCruch and you can find out why and how they continue to thrive.
In short, these games try to get people to pay cash for in game currency so they can level up faster and have a better overall experience. Which is fine. But for users who won’t pay cash, a wide variety of “offers” are available where they can get in-game currency in exchange for lead gen-type offers. Most of these offers are bad for consumers because it confusingly gets them to pay far more for in-game currency than if they just paid cash (there are notable exceptions, but the scammy stuff tends to crowd out the legitimate offers). And it’s also bad for legitimate advertisers.
I just finished 'Into the Wild' (last night, actually) and just started 'Into Thin Air'. I'm beginning to think Jon Krakauer is sort of a big deal, so I'll probably be posting a lot of interviews and such from him over the coming weeks, so consider youself lucky. Krakauer is a monster of a journalist, and I can't wait to get to 'Where Men Win Gloy'.
Some of Cinemassacre's episodes are just fine (especially 'And All Through the House', but I think some of the better ones are missing. Most of my faves come from the first two seasons, and go as follows:
'Dig That Cat...He's Real Gone' - This one's about a guy (Joey "Pants" Pantoliano) who gets nine lives because he gets a cat's gland, and uses them to make tons of cash cheating death as a carnival performer. You can only guess how it ends up.
'Dead Right' - Demi Moore and Jeffrey Tambor are dead-on in this episode, in which a foxy Moore is told by a fortune teller that she will inherit a ton of money after her disgusting (and disgustingly obese) beau (Tambor) dies. The only problem is that she doesn't know if she can stay with him that long. The episode has a great payoff. Totally worth watching.
'Korman's Kalamity' - Harry Anderson (of Night Court fame) plays a comic book artists whose drawings come to life and destroy his. It's a wacky episode, full of a kind of humor singular to 'Tales from the Crypt', and it doesn't take itself too seriously, which makes it easy to watch more than once.
And my personal favorite: 'Television Terror'
'Television Terror' sort of paved the way for movies like 'The Blair Witch Project' and (sadly) 'Halloween: Resurrection'. In it, Morton Downey, Jr. (who is effing awesome in the role) plays a slimy and desperate television journalist (i.e. 90s era Geraldo Rivera) brings a camera crew into a haunted house live on air, and the results are, well, disturbing.
If you've been feening for a Bioshock 2 fix, head over to Playstation Lifestyle to check out some creepy new pics from the upcoming game. They're certainly not going to disappoint.
I'm trying to steer clear of the straight-to-video fare that would probably populate this list - I'm looking at you, 'American Psycho 2' - and sticking rather with sequels, preferably earlier ones, that just don't justify existence. I won't delve into 'Leprechaun in Space' or 'Freddy vs. Jason' due to their tongue-in-cheek nature. These franchises know they have drained the well, and so to place them on the list would be redundant. Most of the list is populated by movies whose first incarnations had such surprise success at the box office that the studios rushed a lame sequel to the theaters to make a few extra bucks, so most of them deserve my ridicule.
1. The Blair Witch Project 2: Book of Shadows
In a shameless cash grab, Artisan capitalized on the astoundingly unexpected fame of the first Blair Witch Project with 'Book of Shadows'. 'The Blair Witch Project' was so original, and more an execution of a brilliant idea than an actual film, that a sequel would have been (and proved to be) not only ill-conceived but unnecessary as well. How could they have expected to even come close to the phenomenon that was 'The Blair Witch Project'? Not since 'Halloween' had a low-budget flick commanded so much attention, and for good reason. It created a buzz by using the internet against cynics, going so far as to create web sites swearing up and down as to the events' authenticity, and so scores of people bought into the myth created by the movie, which made it even scarier than its stomach-turning camera work.
'Book of Shadows' is a bastard child of 'Scream' and any number of wink-wink-nudge-nudge postmodern horror flicks that dominated the late 90s, and its 'hipness' only takes it so far, which is not very far at all. Each character is a walking stereotype, the plotting is incoherent and transforms the film into a crappy suspense story by the end, and, well, basically everything about it is half-hearted and half-assed.
However, looking backward from 'Burn Notice', I will admit that Jeffrey Donovan's presence almost makes it worth a watch.
2. Jaws 2
Though it didn't entirely wreck the first Jaws movie - the third and fourth ones accomplished that - 'Jaws 2' is on the list for one simple reason: THEY KILLED THE SHARK IN THE FIRST MOVIE. Not only that, they killed off the most charismatic of the characters from the first movie, Robert Shaw's Quint, and Richard Dreyfuss is nowhere to be found. Granted, they were going for something different in the second movie, but the whole draw of the first movie (arguably) was the three main characters and not necessarily the shark. Once the trio of characters are broken up - from the chickenshit Sheriff Brody to the irascible Quint - the movie loses something ineffable.
Plus, the possibility of two such rampaging Great Whites is so miniscule as to defy logic, even for movie audiences, and even forgiving that possibility to a certain degree, certain parts of the second movie are so blatantly ripped from the first flick that they truly make this movie a no-brainer for the list. The ending, especially, makes it hard to believe that they had enough material to make a second movie. He electrocutes the shark. By himself. Out at sea. I'm being overly obtuse, though, since they couldn't very well have ended the movie in a theme park or a football stadium or anything, but watching the movie as an adult makes you wonder how much juice was left in the *shark* tank. Sorry.
3. I Still Know What You Did Last Summer
'Still' suffers from some of what plagues 'Jaws 2'. A majority of the cast members did not show for the sequel...because they died in the first movie. Sarah Michelle Gellar, Ryan Phillipe, the dude from 'Big Bang Theory', they're all gone and have been replaced by Jack Black in white-dreads. Terrifying, but in a different way.
Since the movie was obviously too white and WASP-ish the first time around, they went and paired Jennifer Love Hewitt with a black best friend and set them off on a tropical getaway, giving this movie the same sort of Agatha Christie sort of feel as the first one without any modicum of creepiness that helped the first become a success. What we end up getting is a toothless carbon copy of the first film, sporting fewer scares than a car ride with Brandy.
4. Halloween 4: The Return of Michael Myers
I'm including the fourth Halloween film at the behest of The Moviegoer, and for good reason: Halloween 4 (and all of the following sequels) steers the franchise back toward Michael Myers, and while plenty of people may say the third film is the most gratuitous (due in part to its incomprehensible and Myers-less storyline), 'Return' just turns the series into a cliched horror romp featuring an unkillable killer. At least 'Halloween 3' tried to do something different with the franchise, and 'Halloween 2' is safe because it ostensibly picks up just after the first movie's cliffhanger ending.
[Let me also take this opportunity to say that I briefly considered the second Rob Zombie 'Halloween' in its place, due in large part to the fact that Zombie originally intended his first movie to render sequels impossible. Only through a few pirouettes of plotting can a second movie take place, but H2 did not hold a candle to the redundancy of 'Return of Michael Myers.]
5. Carrie 2: The Rage
What should have been ostensibly a remake was instead a horrible, half-assed, ham-handed 'sequel' to the wonderful original film by Brian DePalma. 'Carrie 2' isn't necessarily legendary in being inessential, but it is a symbol for every bad (and usually straight-to-video) sequel to a Stephen King-based flick. All of the 'Children of the Corn' sequels, or the 'Mangler' sequels, or whatever, all can be contained in the decision to include 'The Rage' on this list.
This one just stands out because, rather than being a hastily thrown-together cash-raker of a movie - an offense which plagues the other movies on the list and is almost forgivable - 'Carrie 2' is embarrassingly, ridiculously, gut-wrenchingly late and irrelevant. Released an astounding twenty-three years after the original, 'Carrie 2' is a trying-too-hard clunker of a movie, just so filled with cliche that you could just pick the plot points from a list. Absolutely atrocious.
My Top Five Scream Queens, in no particular order 1. Heather Langenkamp (Nancy) - A Nightmare on Elm Street, Wes Craven's New Nightmare
To me, Heather Langenkamp is unrivaled in the realm of scream queens. I used to frequent a local video store with an extensive collection of horror flicks, and the one I looked at the most was Nightmare. Something about her wholesomeness - or the way she looked on the VHS box at Donna's Video - drew me in. I spent way too much of my mom's money renting that flick, and it's partly about Heather Langenkamp. Freddy might have had something to do with it, too, but without Ms. Langenkamp, it might have been just another mediocre horror flick.
2. Neve Campbell (Sydney) - Scream, Scream 2, Scream 3
It might be controversial to go with another Wes Craven queen so early in the list, but believe me when I say that Neve Campbell deserves the credit. As Sydney Prescott, she is as tough as they come, even for a suburban girl, punching, kicking, and taunting other characters like she was plucked from an action movie. 'Scream' deftly deconstructs the horror genre like no other film, with a killer script from Kevin Williamson and adroit direction from Wes Craven, and Neve Campbell is at the trilogy's center, so its reputation as a pop horror outing is ill-deserved and hardly accurate. It's no teen flick. It's R Rated and witty, something that most horror movies can't pull off without pandering.
And Neve never disrobes, not once. You'll have to go to 'Wild Things' for that kind of (un)coverage.
3. Jamie Lee Curtis - Halloween, Prom Night, Terror Train, The Fog
Even though her mother, Janet Leigh, sort of started the whole "Scream Queen" scene, Jamie Lee Curtis really embodied the idea at the height of its popularity, starring in several of the genre's most long-lasting movies. Even though 'Prom Night' and 'Terror Train' don't hold up as well today, 'Halloween' might just hold up better than it did over thirty years ago.
Beyond having plenty of skin, great music, wonderful cinematography, a great villain, and an unparalleled performance by Donald Pleasance as Dr. Sam Loomis (a reference to 'Psycho' itself), 'Halloween' stars a charismatic Curtis as Laurie Strode, a bookish homebody whose Halloween goes horribly wrong. However, though 'Halloween' proved to be the performance that jump-started her career, getting cast in 'The Fog' as hiker Elizabeth Solley sent her into the scream queen stratosphere.
4. Adrienne Barbeau - The Fog, Swamp Thing, Creepshow, Escape from NY
Adrienne Barbeau had two big things going for her: her brief romance with John Carpenter, who cast her in 'The Fog'...and her breasts. Because of 'The Fog's marginal success, she was cast in other genre flicks, including a turn as Hal Holbrook's drunken wife in 'Creepshow' (I have never enjoyed seeing someone get eaten alive as much as I did during 'The Crate' segment). It is because of her brief run of cultish horror classics in the late 70s and early 80s that earned her a spot on this list.
5. Marilyn Burns - The Texas Chain Saw Massacre
Though her role as Sally Hardesty did not lead to any real, lasting fame, Marilyn Burns could not be excluded from this list of notable horror ingenues. Her performance does not stand out as superb, but man alive can she scream. The second half of the movie, in fact, is rife with her strained voice, almost as prevalent as the soundtrack itself. Burns must also be given credit for the sheer amount of torture she must have gone through in making the movie, considering that she's literally covered in blood by the end of it. Hats off.
Honorable Mentions: Danielle Harris - Halloween 4, Halloween 5, Urban Legend, H2 Sarah Michelle Gellar - I Know What You Did Last Summer, Scream 2 Janet Leigh - Psycho, The Fog Sissy Spacek - Carrie Linda Blair - The Exorcist Drew Barrymore - Scream, Cat's Eye, Firestarter,
Have we reached an age in which facts are of no consequence? Nature.com has posted an article which has sparked my interest on the subject, and one of its premises is this: The assumption is that if they [scientists] explain things very, very clearly, everyone will understand. Unfortunately, this is an uphill battle.
The painfully unenlightened dialogue on the relative truth of scientific claims - we can never really "know" something - has digressed even farther, to the point that people, when confronted with evidence of an overwhelming variety, are able to appeal to belief in order to circumvent what has been said.
A consequence of being so surrounded by technology and knowledge is that we are free to disregard or contradict or subvert any claim with which we do not agree. Even the most uneducated person in America, with a desktop and an internet connection, can find corroborating evidence to support their beliefs, and this notion is specious and, in the end, unscientific. It is a gross misunderstanding of skepticism and thus deserves contemplation.
See, for example, I may believe that the Holocaust never happened. I may also believe that the events of the 'Iliad' never happened, either. Both are historical events, and I can only trust that both happened based on historical accounts, or available evidence. One glance at a photograph from Auschwitz will certainly convince any number of credulous people. Reading an account of an Auschwitz survivor depicted in one of the aforementioned photographs may convince slightly more skeptical people.
At this point, people may be able to still hold a certain amount of skepticism. If a picture and a few firsthand accounts were all we had, then we may feasibly doubt the existence of the Holocaust. It is certainly for that reason that people are unsure of the veracity of the war that is at the center of the 'Iliad'. The accounts are centuries behind the supposed events, so we are confident that we can discredit its actual happening.
The same is not true with the Holocaust. We do not have scant evidence for Hitler's persecution of the Jews, nor do we have very much wiggle room with regard to its truth, and yet people still do insist that the Holocaust either did not exist or was greatly exaggerated, despite the mounds upon mounds of evidence we have to prove otherwise.
I've taken a long detour here, but I'm getting back to my point. Let me, then, ask a question: Are Holocaust deniers mere skeptics? Are they even skeptics at all? How free am I to believe what I wish? Being on the other side, am I a member of the intellectual Gestapo if I insist that beliefs of an unfounded nature are simply unacceptable to hold in today's world? At what point do we stop accepting this kind of half-assed thinking? Is truth, as we experience it, really that malleable?
I do not mean to make a Straw Man out of the Holocaust deniers (though I think that few people would object to me ridiculing them), so let me move onto another subject: ghosts. Spirits. Poltergeists. Whatever you call them, there is a significant amount of observational evidence for their existence, and yet very little empirical, scientific evidence supports that the door that will not stay open in your grandmother's home has anything to do with the four people who were butchered there fifty years ago.
Most rational people reject the existence of ghosts, though, sight unseen. The white dots and inexplicable shadows on photographs do not point immediately to the idea that Uncle Bernie has come back in that form to...well, haunt a photograph. It's because the burden of proof is on the ghost hunters to make it so, and electromagnetic fields and dotted pictures do not pass snuff, just as random alignments of data do not point to the world ending in December of 2012.
The problem is that armchair skepticism has become the normal mode of expression of doubt in this country, and people are able to comfort themselves in constantly moving back the uprights on matters of evidence. Skeptics of evolution say that there are no "transitional" fossils in the record, using science's own language against it, and no matter how many actual, true transitional fossils scientists are able to haul out, people claim to have never seen them.
Perhaps it is because the science has outraced the common intellect. Scientists of two hundred years ago could be scientific hobbyists, and most people could identify with the claims being made and accept the facts because the facts were more or less the result of a thought experiment backed up with science and common sense. It's how we came to understand gravity, the lunar cycle, etc. Science now is so far beyond a common person's understanding that, by comparison, ghosts seem quite easy to believe in.
This, I'm afraid, is a problem. The burden of proof is always on the one who posits a truth - this IS so - rather than those who reject it. You do not, for example, have to prove that there are no fairies in my garden if I say so, or that there is not a pink elephant in my trunk, even if I stomp up and down and shout furiously. It is up to me, at that point, to bring about the compelling evidence. I can find millions of people to agree that there are, indeed, fairies in the garden, or that the squeaking noise in my attic is the spirit of a Civil War soldier come to find his bayonet, or that the Holocaust was a primitive and very successful Photoshop campaign, but if I cannot provide substantive scientific evidence to support my claims, then I really have no claim to proof.
[img source=Paul Gaugin - Don't Listen to the Liar]
At Shopgoodwill.com, you can bid on items - usually going very cheaply - just like on eBay. The sight isn't as aesthetically pleasing or as easily managed as eBay, but you can find good deals and very odd items on the site. For example, I found a set of 16 Mark Twain novels from 1906 that are going for fifty bucks, and I'm extremely tempted to get them. It's very much like Goodwill itself in that you still have to sift through everything to find something good, but you may just find something worth the look
"Almost Live Comedy Show" was announced earlier this month as part of a major marketing partnership Microsoft had sealed with a wide range of News Corp. properties to promote the launch of the computer giant's Windows 7 operating system. As part of the deal, "Almost Live Comedy Show" was set to run commercial-free, with Microsoft marketing messages built into the special instead (Daily Variety, Oct. 14).
But that was before Microsoft execs attended the special's taping Oct. 16. The program included MacFarlane and Alex Borstein -- the voice of "Family Guy" matriarch Lois -- pitching Windows 7. For most of the special, however, MacFarlane and Borstein made typical "Family Guy"-style jokes, including riffs on deaf people, the Holocaust, feminine hygiene and incest.
How were they shocked at this? Macfarlane and the others of the Family Guy crew have a solidly-developed shtick by this point, and it seems weird that they would pull out this close to airtime. Man, this is worse than the time that...[insert joke about pulling out].
Luv Ya Bunches, about four elementary school girls who have little in common, but bond over the fact that they’re all named after flowers, is the first installment of a four-book series. But Scholastic says the book, released on October 1, failed to meet its vetting process because it contains offensive language and same-sex parents of one of the main characters, Milla.
The company sent a letter to Myracle's editor asking the author to omit certain words such as "geez," "crap," "sucks," and "God" (as in, "oh my God") and to alter its plotline to include a heterosexual couple. Myracle agreed to get rid of the offensive language "with the goal—as always—of making the book as available to as many readers as possible," but the deal breaker was changing Milla's two moms.
It's not upsetting to know that acts of censorship of this kind still happen in 2009. Any look at the newspapers will give you a clear idea of where many people stand on the issue. It's still depressing, however, as I know that, in about 20 years, this kind of occurrence will be considered shameful and backwards.
The Obama administration on Monday came out strongly against efforts by Islamic nations to bar the defamation of religions, saying the moves would restrict free speech.
"Some claim that the best way to protect the freedom of religion is to implement so-called anti-defamation policies that would restrict freedom of expression and the freedom of religion," Secretary of State Hillary Rodham Clinton told reporters. "I strongly disagree."
This is a bill that is probably very divisive among religious people, but it is decidedly anti-American, if you are a proponent of certain kinds of speech. No one, incidentally, backs attacking people because of their religious beliefs, but the beliefs themselves are an entirely different story. It seems as though certain Islamic sects are presenting an effort to curb one's ability to be critical of actions based on belief, trying to paint those who are critical as "persecuting" Islam itself.
The storyline for Death Troopers is pretty simple, really — an Imperial prison barge, during the years right before the original Star Wars movie, runs into some engine trouble. Good thing they find a Star Destroyer in the middle of nowhere, which they can cannibalize for parts. Unfortunately, the Star Destroyer has some kind of weird virus on board, which kills everyone it comes into contact with... and the people who die don't stay dead. And that's about it.
I've never really gotten into reading Star Wars fanfic (which is basically what this is), but I might actually end up checking this book out (from the library), because I am, as we know, all about the zombies.
PS: Does anybody think it's bad-ass that a lot more books are coming with their own commercials these days (though I think this one in particular is fan-made)? I certainly do!
I got this video from over Bam Kapow! It's Bill Murray talking (briefly) about Ghostbusters III. It seems as though the video takes forever to load, so be patient with it. Basically, though, there's no script, so we don't have much to go on but internet rumors, and we know that those don't always come to fruition.
This is, without a doubt, one of the eeriest and most disturbing news stories I've read this year. It deserves to be read. Go check it out at the Houston Press News. Makes you want to think twice about using the elevator.
She wasn't able to find the Door Open button before the elevator started moving upward. "When you get on an elevator, if it closes on you, it's supposed to open back up," she told officers. "There wasn't any of that. There was no hesitation. The doors shut and it went."
Nikaidoh struggled, trying to shrug out of the elevator, or possibly pull himself inside, she said, but the elevator kept moving upward. The ceiling sliced off most of his head. His left ear, lower lip, teeth and jaw were still attached to his body, which fell to the bottom of the elevator shaft, as the elevator continued moving upward.
I'm currently a dozen or so pages into the novel, so a graphic version would be a nice little treat post-Christmas. That is indeed a lot of pressure for the film version. Thank God it's Scorsese behind the camera. It's the third movie adaptation of one of author Dennis Lehane's works (unless I'm missing one), and I hope it's as good as 'Mystic River' or 'Gone, Baby, Gone'.
Scientology is a religion that most people have no qualms openly denigrating, or hectoring its believers, and as ludicrous as the beliefs are, no one has defended their right to believe what they wish. Why, I wonder. I am not concerned with defending Scientologists, by any means, but I am curious how people could be so questioning of the kind of lunacy displayed here and not of other religious sects. I know I'm being somewhat obtuse by wondering about a question to which I already have the answer, but it does serve a purpose. What would happen if a journalist asked if God would consciously relate his most important words to an illiterate man, or would find it necessary to have his own son nailed to a cross? The interviewees would not grow defensive, first of all, because they exist in a state of almost astounding certitude about the state of Mohammed or Jesus, but if we changed the question to include practices that have nearly been whited out of the Bible or Koran, then I'm sure we'd have a similar reaction to the one above. I'm just curious.
Recently, Paul Haggis (Crash) left the Church of Scientology after 35 years, due to its San Diego branch supporting Prop 8, which effectively banned gay marriage in California.
Haggis goes on to list other factors -- he was shocked when Davis claimed in an interview with John Roberts on CNN that Scientology did not support the practice of "disconnection." Haggis knew that Davis was lying. He himself was asked to "disconnect" from the parents of his wife, Deborah Rennard, who had left Scientology.
Haggis also says he read the recent St. Petersburg Times series, quoting recent high-level Scientology defectors like Rathbun, who claimed that Miscavige physically abuses church members. In response, Davis attacked the people who spoke to the Times by using material that was obviously gathered in confidential church services -- a form of retaliation called "fair game" that Scientology has long been known for, but that the church publicly claims it doesn't do.
This is the mess that is left when a star explodes. The Crab Nebula, the result of a supernova seen in 1054 AD, is filled with mysterious filaments. The filaments are not only tremendously complex, but appear to have less mass than expelled in the original supernova and a higher speed than expected from a free explosion.
Credit: NASA, ESA, J. Hester, A. Loll (ASU); Acknowledgement: Davide De Martin (Skyfactory)
In some respects, I do find the overuse of Mario in the Nintendo world a bit annoying, but at the same time, I can't blame Nintendo, really. I mean, Mickey Mouse is a ubiquitous douche, but the paradox is that, if he weren't plastered on the front of every Disney item imaginable, then I'd promptly ask, "Huh, well, why didn't they think to add Mickey Mouse to this?" So that's where the argument against Mario breaks down for me, I guess.
An online poll conducted in the ’90s set Vitaly Komar, Alex Melamid and David Soldier on a quest to create the most annoying song ever. After gathering data about people’s least favorite music and lyrical subjects, they did the unthinkable: they combined them into a single monstrosity, specifically engineered to sound unpleasant to the maximum percentage of listeners. The song is not new, but it resurfaced on Dial "M" for Musicology.
You can hear the song over on Wired or you can go over to M for Musicology to give it a listen. No doubt, it would make me give up whatever sensitive information I had, but what do YOU think about it?
They [Baby Einstein Videos] may have been a great electronic baby sitter, but the unusual refunds appear to be a tacit admission that they did not increase infant intellect.
“We see it as an acknowledgment by the leading baby video company that baby videos are not educational, and we hope other baby media companies will follow suit by offering refunds,” said Susan Linn, director of Campaign for a Commercial-Free Childhood, which has been pushing the issue for years.
The four chords that are used in Journey's 'Don't Stop Believin' are (of course) used in a ton of other songs. To see just how many, watch The Axis of Awesome's '4 Chords'. It's a pretty nice montage of pop songs that use the same four chords, and it's well put together. It's not a conspiracy or anything. A limited number of basic chords exist, and these songs share the same ones. You could do the same with any four chords, and it would include an astounding number of songs.
In an effort to push consumers toward buying more movies, some major film studios are considering a new policy that would block DVDs from being offered for rental until several weeks after going on sale.
Under the plan, new DVD releases would be available on a purchase-only basis for a few weeks, after which time companies such as Blockbuster Inc. and Netflix Inc. would be allowed to rent the DVDs to their customers. The move comes as the studios are grappling with sharply declining DVD revenue, which has long propped up the movie business.
I'm just shooting from the hip here, but this seems like a very bad, ill-advised, and quite bewildering turn of events. This new policy - I'll call it DVD Blue Balls - may work for the first few DVD releases, but one people (smart enough to use Netflix instead of Blockbuster) will just mentally change the release date to "seven weeks later" and just wait for the movie, rather than rush out to buy it.
There are movies that I will buy. I'll go to a local (chain) establishment and pluck the DVD from the rack and pay for it, regardless if I COULD rent it or not. If the movie is worth buying, I'll get it the same day.
If not, though, I usually won't buy it at all, and I usually don't have a burning desire to see the movies I didn't buy, so I could totally wait the seven weeks to see it. I'm not everybody, I know, but I still probably buy more movies than most people, and I think this is a demonstrably silly proposal, so I can't wait to snicker at its imminent failure. I do hate that the movie industry is losing money, but initiating such backwards policies makes them a necessary and deserved target.
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