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I have not quite finished Shadow of the Tomb Raider, the latest in Crystal Dynamics' rebooted saga of videogame icon Lara Croft. I'm not sure I want to, either. Following the violent archaeologist on a quest to a hidden city with the lofty goal of stopping an ancient apocalypse, Shadow of the Tomb Raider is a competent, occasionally enjoyable action-adventure romp. It'd be great, if only it weren't so nasty.

Lara Croft is defined by her ability to endure pain. One of the earliest moments of the games is pure claustrophobia. Lara is wedged in a crevice deep underground, nearly crushed between two sheer rock walls as another rock pins her legs down. The camera lingers intimately as she agonizingly uses a knife to work the rock off of her lower leg, scraping off skin, groaning and squirming. The scene immediately before this, the literal first moments of the game, showcase Lara getting into a plane crash.

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The new Tomb Raider series is built on the foundation of Lara's pain. In the first game, the pain was at least expressive, a crucible through which Lara Croft could go from a naive young woman into a hero, a fighter, the insatiable curious and bloodthirsty heroine of the 1990s. Back then, pain was a form of redemption for Lara, and while that isn't without its problems—why must a woman be physically injured to grow?—it was at least a meaningful idea, and Lara's mantra, a slow, breathy "I can do this" before confrontation, had a power to it.

That was two games ago, and yet Lara, supposedly fully developed into her heroic self a long time ago, still regularly gets stabbed, impaled, mauled, nearly drowned, and shot. Every time the player dies in this game, something awful happens to this woman. My own failures made me cringe, as I had to see some horrific punishment inflicted on her.

Lara Croft is born to suffer, and Lara Croft is also born to dole out suffering. Violence follows her everywhere. The game begins with Lara making a terrible mistake out of greed and desperation, a mistake that kills countless people. In another early scene, a supernatural tsunami—caused by Lara's plundering—consumes an entire Mexican town. Another vignette depicts a child dying. This, the game says, is Lara's fault. Shadow of the Tomb Raider then has Lara go on a warpath of her own, murdering droves of her enemies in pursuit of redemption and knowledge, even as the game halfheartedly attempts to encourage Lara to learn to be, well, less of a tomb raider and more of a tomb visitor. Hundreds of people die in this game to teach Lara Croft a lesson in humility.

The problem in Shadow of the Tomb Raider is that this suffering feels without expressive purpose. It doesn't carry sufficient weight to justify itself. In these games, people suffer as mild, milquetoast entertainment. Crystal Dynamics, whether purposefully or by accident, have created games that feel, first and foremost, cruel. This would be less insulting if the games weren't so competently made. The combat, the sneaking, the labyrinths of puzzles that feel both sprawling and tightly focused—it all pops. There is a legitimate and powerful sense of tension here, and in a game that was framed with less brutality, a more bright and cheerful and playful sort of adventure, there would be a lot to recommend.

But over the course of three games, the tone of Tomb Raider has curdled. Lara Croft often gets compared to Indiana Jones, but disregarding their mutual tendency toward appropriation and violence instead of archaeology, the two have little in common. Lara's world is mean in its heart in a way that Indy's never was. Shadow of the Tomb Raider is a nasty game, and if this series continues, I hope it veers in a wholly different direction. I'm tired of watching Lara Croft get impaled on spikes.

Driving in a busy city, you have to get good at scrutinizing the body language of pedestrians. Your foot hovers somewhere between the gas and the brake, waiting for your brain to triangulate their intent: Is that one trying to cross the street, or just waiting for the bus? Still, a whole lot of the time you hit the brakes for nothing, ending up in a kind of dance with the pedestrian (you go, no you go, no YOU go).

If you think that’s frustrating, then you’ve never been a self-driving car. As human drivers slowly go extinct (and human pedestrians don’t), autonomous vehicles will have to get better at decoding those unspoken intersection interactions. So a startup called Perceptive Automata is tackling that looming problem. The company says its computer vision system can scrutinize a pedestrian to determine not only their awareness of an oncoming car, but their intent—that is, using body language to predict behavior.

Typically if you want a machine to recognize something like trees, you first have humans label tens of thousands of pictures: trees or not trees. It’s a nice, neat binary. It gives the machine learning algorithms a base level of knowledge. But detecting human body language is more complex.

“In the case of a pedestrian, it's not, this person is crossing the road and this person isn't crossing the road. It's, this person isn't crossing the road but they clearly want to,” says Sam Anthony, co-founder of Perceptive Automata. Is the person looking down the road at oncoming traffic? If they’ve got grocery bags, have they set them down to wait, or are they mid-hoist, getting ready to cross?

Perceptive trains its models to look at those kinds of behaviors. They begin with human trainers, who watch and analyze videos of different pedestrians. Perceptive will take a clip of, say, a human looking down the street to cross the road, and manipulate it hundreds of ways—obscuring portions of it, for instance. Maybe sometimes the head is easier to see, maybe sometimes it’s harder. Then they depart from the tree-not-tree binary by asking the trainers a range of questions, such as, "Is that pedestrian hoping to eventually cross the street?" or “If you were that cyclist, would you be trying to stop the car from passing?”

When different parts of the image are harder to see, the human trainers have to think harder about their judgements of body language, which Perceptive can measure by tracking eye movement and hesitation. Maybe the head is harder to make out, for example, and the trainer has to put more thought into it. “This tells us that there's information about the appearance of the person's head in this particular slice that's an important part of how people judge whether that person in that training video is going to cross the street,” Anthony says.

The head is clearly an important clue for human observers, so it’s also an important clue for the machines. “So when the model saw a novel image where the head was important,” Anthony says, “it would be primed based on the training data to believe that people would likely really care about the pixels around the head area, and would produce an output that captured that human intuition.”

By considering cues like where the pedestrian is looking, Perceptive can quantify awareness and intent. A person walking down the sidewalk with their back to the car, for example, isn’t anything to worry about—both unaware and not intending to cross the street. But someone standing at a crosswalk peering down the street is another story. This insight would give a self-driving car extra time to slow down in case the pedestrian does decide to make a run for it.

Perceptive says it’s already working with automakers—it won’t reveal which—to deploy the system, and plans to license the technology to the makers of self-driving cars. (Daimler, for its part, has also studied tracking pedestrian head movements.) It’s also interested in other robotics companies producing machines that will need to interact closely with humans.

Because in this strange new world of complex interactions between people and robots, it’s as much about machines adapting to humans as it is humans adapting to machines. Determining the intent of pedestrians will help, but it won’t be easy. “Knowing the intent of pedestrians would certainly make [autonomous vehicle] deployment safer,” says Carnegie Mellon roboticist Raj Rajkumar, who works in self-driving cars. “It is, however, a very difficult problem to solve perfectly.”

“Consider Manhattan,” Rajkumar adds. And consider a big group of people crossing, specifically a person on the far side of a group from a robocar. “Among this group, one person is either short or starts running to cross quickly after the vehicle has decided to make a turn. Machine vision is not perfect.” And machine vision can get confused by optics, just like humans can. Reflections, the sun dropping low on the horizon, alternating light and dark patches on the road, not to mention heavy rain or snow, all can bamboozle the machines.

Then there’s the simple matter of people just acting weird. Perceptive’s system can pick up on tell-tale cues, but humans aren’t always so consistent. “There were about 7,000 pedestrian fatalities in the US in 2017 alone,” says Rajkumar. “The primary issue is the presence of significant uncertainty and sudden decisions that get made. Most pedestrians are very traffic-conscious most of the time. But, occasionally, a pedestrian is either in a hurry or changes their mind at the last moment and starts crossing the street, or even reverses direction.”

No one’s about to claim that self-driving cars will totally eliminate traffic deaths—not even machines are perfect, and there’s always going to be the unpredictable human pedestrian element. But bit by bit, robocars are getting better at navigating both our world and our vagaries.

Skrulls have been many things in the Marvel Comics over the past 60 years: superhero impersonators, religious extremists disguised as humans, canon fodder in any number of Avengers brawls. In their first appearance, they were even cattle, made bovine by Reed Richards in Fantastic Four #2. (This ended poorly for them in the absurdist 1995 miniseries Skrull Kill Krew when the Cow!Skrulls were slaughtered and turned into hamburgers, resulting in a mad-cow-like disease.) Skrulls are impersonators. Skrulls are terrorists. Skrulls can't be trusted.

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(Warning: Spoilers ahead!)

In Captain Marvel, the Skrulls are something else: people. They are beings whose plight, and fight, has been misunderstood.

This is true not just of a few exceptional Skrull characters, but of the Skrull as a species. The first two acts of the movie may set them up as the enemies, and Captain Marvel's Kree as the saviors, but the third act flips that dangerous assumption entirely. Instead, it presents the Skrulls as a refugee group being hounded across the galaxy by the military of a fascist hegemony, a Kree Empire that denies them their basic dignity. Captain Marvel turns General Talos (Ben Mendelsohn) into a character to be fought for, not against, showing the universe through Skrull eyes.

This isn't entirely new. Marvel comics have given readers sympathetic Skrulls before, but their shape-changing abilities and dramatic ears and chins have historically coded them as untrustworthy and alien. They're a version of the old sci-fi trope of the alien race that infiltrates society to replace humans. They can even, dangerously, be seen as stand-ins for immigrants or minorities; they are Other. Captain Marvel upends that, calling into question assumptions about who is the Good Guy and who is the Bad Guy in any war narrative. Do we side with people who look like us? (Kree, even with their blue skin, still look more human than Skrulls do.) Or do we side with the people who are forced into hiding?

Carol Danvers (Brie Larson), by the end of Captain Marvel, knows which side she's on. She has been hiding too. On the Kree planet Hala, she was expected to suppress her feelings, her unique powers, even her past. After crash-landing on Earth, she slowly learns she had to hold back there too. She couldn't fly combat missions in the US Air Force, and if you read a queer subtext into her relationship with Maria Rambeau (Lashana Lynch)—many already do—then she may have also been hiding her identity during the era of Don't Ask, Don't Tell. Once she realizes her power, and the realities of the Kree-Skrull War, she isn't protecting the Skrulls as a member of the Air Force or as a part of the Kree Empire, she's doing it as herself.

There is some precedent here. Queer-coded Skrulls like She-Hulk's (girl)friend Jazinda or Effigy in Marvel: The Lost Generation have been popping up in the comics for years. (See also: Xavin in Runaways and Teddy Altman, the half-Skrull, half-Kree boyfriend of Scarlet Witch's son.) But those Skrull are portrayed as outliers of their species. Similarly, Hawkeye and friends stumbled on a whole town of Skrull living in harmony with humans in Dungston, Iowa, in Occupy Avengers, but that was one story, not the thrust of the Skrull story.

Captain Marvel, then, is a new chapter in that tale. The movie doesn't just show the galaxy from the Skrull point of view, it asks viewers to identify with them. Like the Skrull, people conceal themselves in order to survive in an oppressive world. When they defend themselves, the oppressors call it war. Like Telos racking through Carol's memories, marginalized groups—and anyone, really—look to other people's stories for a path to survival and to find a safe place they can inhabit as their true selves.

This narrative, this through line of Captain Marvel is central to any discussion of the movie's importance. As the first standalone Marvel superhero film to feature a female lead, it's already a part of the discussion about representation, and the Skrull, as proxies for any number of ostracized groups, are a part of that. But it's not enough to just have Skrulls to identify with. Movies, superhero movies especially, still need more representation of marginalized groups onscreen, still need to move beyond the allegories. Then, perhaps, messages like Captain Marvel's—that someone's difference isn't a threat, that refugees just want asylum—will have truly been heard.

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Like most people, you’ve probably watched Get Out at least once. Maybe twice. But the best way to see Get Out is with Jordan Peele sitting right next to you.

Last spring, long before Get Out's eventual Oscar win, the movie was released on home video with a commentary track from its writer-director. A decade ago, in the pre-streaming era, this wouldn’t have been news: Back then, seemingly every movie got a commentary track, even Good Luck Chuck. Then the DVD market began to decline, and the commentary track went from a being standard-issue add-on to relative rarity. Even recent Best Picture nominees like Mad Max: Fury Road, The Wolf of Wall Street, 12 Years a Slave, and Spotlight were released sans tracks—bad news for anyone looking for behind-the-scenes intel on Mark Ruffalo's little-Ceasar haircut.

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In the last few years, though, several high-profile films—everything from Star Wars: The Last Jedi to Lady Bird to Get Out—have been released with commentary tracks. That means you can spend your umpteenth viewing of Peele's film listening to him talk about how he modeled the opening credits on those of The Shining, or how the film's title was inspired by a routine from Eddie Murphy Delirious. For casual movie watchers, such details may not be too thrilling. But for film nerds who absorb behind-the-scenes trivia and how-we-made-it logistics, tracks like the one for Get Out remain the cheapest movie-making education available.

I've listened to hundreds of commentary tracks over the last 25 years—a pursuit that goes back to the mid-’90s, when it was possible to rent a laserdisc player(!) and a copy of the Criterion Collection’s The Silence of the Lambs, and spend a weekend listening to Jonathan Demme and the film's cast and creators chat for two hours. That track remains a classic of the genre: Demme talks nuts-and-bolts filmmaking 101; Jodie Foster discusses story arc and character; FBI agent John Douglas talks about serial killers. It's like taking a half-dozen freshman-level introductory classes at once.

There are other classics of the commentary genre. Some are practical, like the Citizen Kane commentary in which Roger Ebert breaks down Orson Welles' various on-screen tricks, or the Aliens track in which Jim Cameron discusses the best lens for special effects. Others play out like their own mini-movies: On the track for The Limey, director Steven Soderbergh and screenwriter Lem Dobbs semi-gently spar over how the movie came out—a rare look at the messiness of creative collaboration. Then there are the all-purpose tracks that combine practical-moviemaking details, flotsam of trivia, and hang-out banter, like the crowded Fight Club commentary that covers everything from CGI explosions to Rosie O'Donnell giving away the film's ending on her talk show ("just unforgivable," star Brad Pitt laments).

The best commentary tracks don't bog you down with technical details or fill up dead air with dull plaudits: They footnote the movie experience, answering questions you may not have known you had about everything from casting to cinematography to marketing. "You can learn more from John Sturges' audio track on the Bad Day at Black Rock laserdisc than you can in 20 years of film school,” Paul Thomas Anderson once said.

That might be true‚ but for years the commentary for that 1955 thriller was out of print and near-impossible to find. Eventually, it popped up on YouTube, which has become home to countless bootlegged commentary-track rips, some of them listed under fake titles (and some, like Get Out, are easy to spot). With minimal searching, you can also find MP3s archived on Tumblrs and old blogspot pages, in case you want to download and watch along—or listen to a commentary track while doing errands or exercising (maybe I’ve taken the hilarious, deeply non-informative Step Brothers play-by-play out with me for a long walks).

But there are also hundreds of digitally preserved commentary tracks available through legit means. On FilmStruck—the streaming service featuring older movies from the Criterion Collection and Turner Classic Movies—you can listen to Terry Gilliam discuss Time Bandits and Steve James talk Hoop Dreams. Indie powerhouse A24 has produced filmmakers’ commentary tracks that are bundled on outlets like the iTunes store, meaning you can listen to Paul Schrader walk through every step of his excellent First Reformed. And Disney has been releasing tracks for recent hits like The Last Jedi and Avengers: Infinity War. Only a few years ago, commentary tracks seemed all but dead; now, there are almost too many to keep up with—including the numerous fan-recorded ones available as podcasts and hours-long YouTube clips.

It’s telling that many of the filmmakers (and film lovers) now recording commentaries are in their thirties and forties—meaning they came of age in the first commentary-track era during the Bush/Clinton years. When Peele opens his Get Out track, he notes that it's a "surreal honor" to be recording it—a testament to how crucial these commentaries are for anyone looking to sneak behind the screen. And now, online, you can pretty much stay there forever.


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Star Wars Director Reveals the Secrets Behind Rogue One's Final Vader Scene

It could very well be the best scene in Rogue One: A Star Wars Story— Darth Vader violently pursuing rebels as they try to escape with the Death Star plans. But, as Director Gareth Edwards reveals, the scene fans saw in theaters almost didn't happen.

Information from space has historically been the province of the rich and powerful. Big Earth-observing satellites can cost hundreds of millions of dollars to build and launch, and the price of their data scales accordingly. Scrappy scientific upstarts have, for a while, been building smallsats to get orbital data on the cheap. And while a single smallsat won't give a small company or nation-state all-seeing powers, if you put a bunch of them together to form a constellation, you can get rapidly refreshed information on the planet.

Now, those commercial constellations are powerful and numerous enough that the feds are taking an interest, with both NASA and NOAA currently navigating pilot data-purchase programs. Neither organization is looking to outsource all its observations: Both agencies fly their own substantial satellites, and NASA sometimes makes its own little ones. But since capable constellations of smallsats are beaming down data about the planet—all of it for sale—why wouldn't federal science agencies take advantage of the abundance?

The National Geospatial Intelligence Agency has already seen the value in that, and signed data-subscription contracts with Earth-imaging startup Planet. And it has long bought high-resolution data from giants like DigitalGlobe, as has NASA. There's a reason, though, that science agencies haven't fully bought into the hype yet: Commercial smallsat companies can be capricious. They may come and go, or their data may change in quality or format, or not be up to snuff.

NOAA—responsible for things like daily weather forecasts, storm warnings, and long-term climate monitoring—operates its own fleet of 17 larger satellites, with some in the flagship GOES series valued around $500 million each. The agency isn't interested in replacing all its innate assets, or their data, with commercial smallsat stuff. But it is interested in augmentation. And so, as part of its Commercial Weather Data Pilot Program, the agency issued two contracts to smallsat companies Spire and GeoOptics in 2016. In exchange for just over $1 million, they were to provide NOAA with atmospheric data—not necessarily so NOAA could learn about the atmosphere, but so it could learn about the data's "potential value to NOAA’s weather forecasts and warnings."

The program kind of halfway worked. By the time the performance period concluded, in April 2017, only Spire had anything to show for itself. Its small satellites had spied on GPS signals, using a method called radio occultation to detect slight changes as the signals streamed through the atmosphere—revealing information about temperature or moisture in the area.

GeoOptics didn’t actually launch any satellites until July 2017. Which is several months after the April deadline.

NOAA had been planning to announce round two of the pilot program in 2017, but in September, the agency determined that that was “not in the best interests” of the government, or the program, and anticipated delaying till later in 2018.

NOAA officials aren't unconcerned with the risks commercial smallsat data poses, a position they expressed, as reported by SpaceNews, at the American Meteorological Society Meeting in January. Officials don't know, for instance, whether a given smallsat constellation will remain afloat, and whether its weather data will stay a similar price.

It makes sense that NOAA in particular—keeper of the National Weather Service—would be cautious about launching into private smallsats. “For the longest time [weather] has been completely handled by the government side of things,” says Dallas Kasaboski, an analyst at consulting firm Northern Sky Research. Meteorology needs data solid enough to pin predictions to, and sometimes it feels the only way to get a job done right is to do it yourself.

And the reason government agencies are interested in smallsats is also their cause for concern. There's money and innovation, and tons of data to be digested. But it also means companies are still newish; they're switching up hard- and software and merging and buying and being bought. All of that shifting makes it harder for agencies like NOAA to quality-assure data. “The Earth observation space is very competitive,” says Kasaboski. “It’s changing. Companies are changing hands or consolidating. There is often that kind of a threat.”

For instance: Google acquired an Earth-observation company called Skybox, which then became Terra Bella, which was then bought by unicorn Planet, which sells data back to Google, which also buys data from DigitalGlobe, which is, as of recently, owned by the same company that also owns SSL, which has built satellites for Planet in the model of Terra Bella.

Despite the downsides, other agencies can throw themselves into commerciality with more abandon, because their responsibilities aren’t the same. Take that space agency, for example, whose mission is more simply scientific.

In December 2017, NASA asked Earth-observation companies that are already flying smallsat constellations for their deets: Instead of dictating exactly what it wanted, NASA also asked them what they could give. “We are letting them kind of drive that show,” says Sandra Cauffman, deputy director of NASA’s earth science division. Later that month, the agency had gotten 11 responses (just a year and a half ago, in a similar call, they got only five).

Although NASA can’t say which companies threw their sats into the ring, Cauffman says the agency hopes to have contracts in place with some of them in March, for a one-year pilot project.

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There’s mostly only upside here: If that data is good enough, NASA can augment its homebuilt capabilities without having to construct, launch, and maintain its own constellations. There is a catch, though. “NASA has a free and open data policy,” says Cauffman. NOAA does too, which is why you can get any GOES images you want, any time you want (except when the government is shut down).

Companies, of course, may not be so happy about free access. After all, if NASA buys their proprietary data and then gives it away, no one else really needs to press purchase. “How much is it going to cost if we would like to distribute the data more broadly?” says Cauffman.

The other questions, of course, are about how good the data is, and how reliably it’s delivered—same as NOAA would like to know.

Both agencies are approaching the smallsat industry with varying degrees of question and caution. But this business direction—away from providing everything for themselves and toward paying for someone to provide for them—is the natural order of space things. The Obama administration made big strides toward outsourcing things like space launches, with the Trump administration following in step. And while the smallsat industry is less developed than the rocket industry, a little push, courtesy of Big Brother, could help the industry mature faster. Because the government is a big customer, but a tough one.

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The Commercial Space Race Heats Up

The private American companies battling it out for a $3.5 billion NASA contract have one last chance to successfully launch their spacecraft before a decision is made in January.

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It’s been a week that’s seen us inch ever closer to the collapse of NAFTA, seen the White House seemingly confused about how it collectively feels about the death of John McCain, and seen the official death toll of Hurricane Maria in Puerto Rico raised by almost 3,000, even though the President still claims the official response was “fantastic”. (No wonder his disapproval rating has hit an all-new high.) But what else has been going on this week? I’m glad you asked! Let’s let the internet answer that question, shall we?

You’re Fired (483rd Twitter Edition)

What Happened: Of all the people the President of the United States has pushed out of the White House, perhaps the White House lawyer wasn’t the best choice.

Where It Blew Up: Twitter, media reports

What Really Happened: Elsewhere in the legal worries of the leader of the free world, the reportedly perfectly fine, nothing wrong whatsoever relationship between President Trump and White House lawyer Don McGahn took a bit of a turn early this week, as the President tweeted out a personnel update.

Well, this seems perfectly normal and not something that people were cynically expecting after it emerged that McGahn had multiple meetings with Special Counsel Robert Mueller over the past few months. Still, at least he was given time to prepare for this decision…

On the plus side, everyone in Trump’s orbit must have been happy to see him go…

That’s 84-year-old Republican senator Chuck Grassley there, showing some hey-fellow-kids Twitter chops.

Even as everyone was still coming to terms with the White House lawyer being unceremoniously dismissed without notice, some people had some more thoughts to offer on how this related to the bigger picture:

But as with seemingly every bit of reporting, the President couldn’t resist taking to Twitter to argue against the conventional wisdom in his patented “Nuh-uh, just the opposite!” style, as was obvious on Thursday morning:

As should probably be expected at this point, most people took this as confirmation that just the opposite was actually true. But a third tweet made ears perk up amongst the political watchers:

The replacement in question…? That’s an open question at time of writing, thanks to entirely conflicting reports:

Hey, maybe Rudy Giuliani could moonlight once he’s finished working on that counter-report.

The Takeaway: Curiously, McGahn wasn’t the only lawyer to leave the White House this week, although this departure was seemingly more voluntary:

Alienated Citizens of the World, Unite

What Happened: For those who thought that the current administration couldn’t do anything to get more racist, I introduce to you: Telling U.S. citizens they aren’t really citizens because they’re Hispanic.

Where It Blew Up: Twitter, media reports

What Really Happened: As if there weren’t enough reasons to feel concerned about the administration’s attitude towards immigration (Hundreds of children are still separated from their parents, in case you’re wondering), a new report from the middle of this week brought an additional wrinkle:

The Washington Post’s report alleged that American citizens were getting passport applications rejected in Texas, with “hundreds, and possibly thousands” of Hispanic citizens being accused of using fake birth certificates.

To call this a big deal would be a severe understatement, and the original report was quickly shared by other outlets across the internet. Twitter, too, was shocked by what was happening:

As might be expected, the State Department pushed back on the reports, but there was one obvious problem with that…

Oh, and it’s not just passports or the administration, as it turns out:

The Takeaway: Yeah, this isn’t terrifying in the slightest. Maybe there’s a silver lining to be found somewhere…

From Give and Take and Still Somehow

What Happened: The President and his lawyers have come up with a new plan to combat the special investigation into potential collusion with Russia; release its own fake report. No, really.

Where It Blew Up: Twitter, media reports

What Really Happened: You know what they always say: If you can’t beat them, release your own version of something and just pretend that they’re entirely equivalent. And speaking of the current special counsel investigation into the President of the United States and potential collusion with foreign entities…

There are all manner of obvious flaws in this plan, such as who would believe a report put together by the subject of the investigation? (I mean, sadly, we know the answer, but still.) There’s also this small drawback:

That is a problem. How can you write a rebuttal to a mystery topic…?

Actually, the apparent truth is only incrementally less likely:

Somewhat amazingly, this turns out not to be the first time the subject has been raised publicly by Giuliani, the president’s personal attorney. But, sure, this definitely sounds like a good use of everyone’s time:

If nothing else, he’ll have to work quickly in order to—as the original report put it—release the report within minutes of Mueller’s official, actually researched, report.

Let's be real: There’s almost no way this could fail.

The Takeaway: Who couldn’t be convinced by a well-reasoned argument from this guy?

Why They Changed It I Can’t Say

What Happened: New York got an unexpected name change this week on certain apps, thanks to an act of anti-semitic “digital graffiti.”

Where It Blew Up: Twitter, media reports

What Really Happened: New York users of Snapchat, the Weather Channel, and other online services with map services received an unpleasant surprise on Thursday morning:

Of course, this quickly went viral, because of course it did. The root, as it happened, was quickly identified—

—and dealt with:

But what caught some people’s attention was the choice of slur city name—and how much of a failure it ultimately was:

Others wondered if New York's new identity could be an improvement:

Sadly, not everyone was happy with the takeover:

The Takeaway: It wouldn’t be a New York moment without at least one person fondly remembering the good old days…

Slight Return

What Happened: After less than a year away, Louis C.K. has stepped back into the spotlight to return to comedy—and it turns out people aren’t really into that idea so much.

Where It Blew Up: Twitter, media reports

What Really Happened: Hey, remember last November, when comedian Louis C.K. admitted that reports of his sexually harassing several women, including masturbating in front of them, were true? Remember when he issued a statement saying that he was going to “step back and take a long time to listen”?

Well, that was certainly nine months' worth of listening, I guess. Yes, Louis C.K. returned to the public stage this week (although it turns out he’d actually made a more low-key comeback earlier than that), and it was a return that prompted a very strong response online.

With all kinds of think pieces published in response, the overall feeling about C.K.’s return could be summed up in one simple tweet:

As if to illustrate that last point, an additional fact about C.K.’s set emerged a day later…

The Takeaway: But perhaps we’re being too hard on the comedian…

The tiny tadpole embryo looked like a bean. One day old, it didn’t even have a heart yet. The researcher in a white coat and gloves who hovered over it made a precise surgical incision where its head would form. Moments later, the brain was gone, but the embryo was still alive.

The brief procedure took Celia Herrera-Rincon, a neuroscience postdoc at the Allen Discovery Center at Tufts University, back to the country house in Spain where she had grown up, in the mountains near Madrid. When she was 11 years old, while walking her dogs in the woods, she found a snake, Vipera latastei. It was beautiful but dead. “I realized I wanted to see what was inside the head,” she recalled. She performed her first “lab test” using kitchen knives and tweezers, and she has been fascinated by the many shapes and evolutionary morphologies of the brain ever since. Her collection now holds about 1,000 brains from all kinds of creatures.

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Original story reprinted with permission from Quanta Magazine, an editorially independent publication of the Simons Foundation whose mission is to enhance public understanding of science by covering research developments and trends in mathematics and the physical and life sciences.

This time, however, she was not interested in the brain itself, but in how an African clawed frog would develop without one. She and her supervisor, Michael Levin, a software engineer turned developmental biologist, are investigating whether the brain and nervous system play a crucial role in laying out the patterns that dictate the shapes and identities of emerging organs, limbs and other structures.

For the past 65 years, the focus of developmental biology has been on DNA as the carrier of biological information. Researchers have typically assumed that genetic expression patterns alone are enough to determine embryonic development.

To Levin, however, that explanation is unsatisfying. “Where does shape come from? What makes an elephant different from a snake?” he asked. DNA can make proteins inside cells, he said, but “there is nothing in the genome that directly specifies anatomy.” To develop properly, he maintains, tissues need spatial cues that must come from other sources in the embryo. At least some of that guidance, he and his team believe, is electrical.

In recent years, by working on tadpoles and other simple creatures, Levin’s laboratory has amassed evidence that the embryo is molded by bioelectrical signals, particularly ones that emanate from the young brain long before it is even a functional organ. Those results, if replicated in other organisms, may change our understanding of the roles of electrical phenomena and the nervous system in development, and perhaps more widely in biology.

“Levin’s findings will shake some rigid orthodoxy in the field,” said Sui Huang, a molecular biologist at the Institute for Systems Biology. If Levin’s work holds up, Huang continued, “I think many developmental biologists will be stunned to see that the construction of the body plan is not due to local regulation of cells … but is centrally orchestrated by the brain.”

Bioelectrical Influences in Development

The Spanish neuroscientist and Nobel laureate Santiago Ramón y Cajal once called the brain and neurons, the electrically active cells that process and transmit nerve signals, the “butterflies of the soul.” The brain is a center for information processing, memory, decision making and behavior, and electricity figures into its performance of all of those activities.

But it’s not just the brain that uses bioelectric signaling—the whole body does. All cell membranes have embedded ion channels, protein pores that act as pathways for charged molecules, or ions. Differences between the number of ions inside and outside a cell result in an electric gradient—the cell’s resting potential. Vary this potential by opening or blocking the ion channels, and you change the signals transmitted to, from and among the cells all around. Neurons do this as well, but even faster: To communicate among themselves, they use molecules called neurotransmitters that are released at synapses in response to voltage spikes, and they send ultra-rapid electrical pulses over long distances along their axons, encoding information in the pulses’ pattern, to control muscle activity.

Levin has thought about hacking networks of neurons since the mid-1980s, when he was a high school student in the suburbs near Boston, writing software for pocket money. One day, while browsing a small bookstore in Vancouver at Expo 86 with his father, he spotted a volume called The Body Electric, by Robert O. Becker and Gary Selden. He learned that scientists had been investigating bioelectricity for centuries, ever since Luigi Galvani discovered in the 1780s that nerves are animated by what he called “animal electricity.”

However, as Levin continued to read up on the subject, he realized that, even though the brain uses electricity for information processing, no one seemed to be seriously investigating the role of bioelectricity in carrying information about a body’s development. Wouldn’t it be cool, he thought, if we could comprehend “how the tissues process information and what tissues were ‘thinking about’ before they evolved nervous systems and brains?”

He started digging deeper and ended up getting a biology doctorate at Harvard University in morphogenesis—the study of the development of shapes in living things. He worked in the tradition of scientists like Emil du Bois-Reymond, a 19th-century German physician who discovered the action potential of nerves. In the 1930s and ’40s, the American biologists Harold Burr and Elmer Lund measured electric properties of various organisms during their embryonic development and studied connections between bioelectricity and the shapes animals take. They were not able to prove a link, but they were moving in the right direction, Levin said.

Before Genes Reigned Supreme

The work of Burr and Lund occurred during a time of widespread interest in embryology. Even the English mathematician Alan Turing, famed for cracking the Enigma code, was fascinated by embryology. In 1952 he published a paper suggesting that body patterns like pigmented spots and zebra stripes arise from the chemical reactions of diffusing substances, which he called morphogens.

Masayuki Yamashita

But organic explanations like morphogens and bioelectricity didn’t stay in the limelight for long. In 1953, James Watson and Francis Crick published the double helical structure of DNA, and in the decades since “the focus of developmental biology has been on DNA as the carrier of biological information, with cells thought to follow their own internal genetic programs, prompted by cues from their local environment and neighboring cells,” Huang said.

The rationale, according to Richard Nuccitelli, chief science officer at Pulse Biosciences and a former professor of molecular biology at the University of California, Davis, was that “since DNA is what is inherited, information stored in the genes must specify all that is needed to develop.” Tissues are told how to develop at the local level by neighboring tissues, it was thought, and each region patterns itself from information in the genomes of its cells.

The extreme form of this view is “to explain everything by saying ‘it is in the genes,’ or DNA, and this trend has been reinforced by the increasingly powerful and affordable DNA sequencing technologies,” Huang said. “But we need to zoom out: Before molecular biology imposed our myopic tunnel vision, biologists were much more open to organism-level principles.”

The tide now seems to be turning, according to Herrera-Rincon and others. “It’s too simplistic to consider the genome as the only source of biological information,” she said. Researchers continue to study morphogens as a source of developmental information in the nervous system, for example. Last November, Levin and Chris Fields, an independent scientist who works in the area where biology, physics and computing overlap, published a paper arguing that cells’ cytoplasm, cytoskeleton and both internal and external membranes also encode important patterning data—and serve as systems of inheritance alongside DNA.

And, crucially, bioelectricity has made a comeback as well. In the 1980s and ’90s, Nuccitelli, along with the late Lionel Jaffe at the Marine Biological Laboratory, Colin McCaig at the University of Aberdeen, and others, used applied electric fields to show that many cells are sensitive to bioelectric signals and that electricity can induce limb regeneration in nonregenerative species.

According to Masayuki Yamashita of the International University of Health and Welfare in Japan, many researchers forget that every living cell, not just neurons, generates electric potentials across the cell membrane. “This electrical signal works as an environmental cue for intercellular communication, orchestrating cell behaviors during morphogenesis and regeneration,” he said.

However, no one was really sure why or how this bioelectric signaling worked, said Levin, and most still believe that the flow of information is very local. “Applied electricity in earlier experiments directly interacts with something in cells, triggering their responses,” he said. But what it was interacting with and how the responses were triggered were mysteries.

That’s what led Levin and his colleagues to start tinkering with the resting potential of cells. By changing the voltage of cells in flatworms, over the last few years they produced worms with two heads, or with tails in unexpected places. In tadpoles, they reprogrammed the identity of large groups of cells at the level of entire organs, making frogs with extra legs and changing gut tissue into eyes—simply by hacking the local bioelectric activity that provides patterning information.

And because the brain and nervous system are so conspicuously active electrically, the researchers also began to probe their involvement in long-distance patterns of bioelectric information affecting development. In 2015, Levin, his postdoc Vaibhav Pai, and other collaborators showed experimentally that bioelectric signals from the body shape the development and patterning of the brain in its earliest stages. By changing the resting potential in the cells of tadpoles as far from the head as the gut, they appeared to disrupt the body’s “blueprint” for brain development. The resulting tadpoles’ brains were smaller or even nonexistent, and brain tissue grew where it shouldn’t.

Unlike previous experiments with applied electricity that simply provided directional cues to cells, “in our work, we know what we have modified—resting potential—and we know how it triggers responses: by changing how small signaling molecules enter and leave cells,” Levin said. The right electrical potential lets neurotransmitters go in and out of voltage-powered gates (transporters) in the membrane. Once in, they can trigger specific receptors and initiate further cellular activity, allowing researchers to reprogram identity at the level of entire organs.

This work also showed that bioelectricity works over long distances, mediated by the neurotransmitter serotonin, Levin said. (Later experiments implicated the neurotransmitter butyrate as well.) The researchers started by altering the voltage of cells near the brain, but then they went farther and farther out, “because our data from the prior papers showed that tumors could be controlled by electric properties of cells very far away,” he said. “We showed that cells at a distance mattered for brain development too.”

Then Levin and his colleagues decided to flip the experiment. Might the brain hold, if not an entire blueprint, then at least some patterning information for the rest of the body, Levin asked—and if so, might the nervous system disseminate this information bioelectrically during the earliest stages of a body’s development? He invited Herrera-Rincon to get her scalpel ready.

Making Up for a Missing Brain

Herrera-Rincon’s brainless Xenopus laevis tadpoles grew, but within just a few days they all developed highly characteristic defects—and not just near the brain, but as far away as the very end of their tails. Their muscle fibers were also shorter and their nervous systems, especially the peripheral nerves, were growing chaotically. It’s not surprising that nervous system abnormalities that impair movement can affect a developing body. But according to Levin, the changes seen in their experiment showed that the brain helps to shape the body’s development well before the nervous system is even fully developed, and long before any movement starts.

That such defects could be seen so early in the development of the tadpoles was intriguing, said Gil Carvalho, a neuroscientist at the University of Southern California. “An intense dialogue between the nervous system and the body is something we see very prominently post-development, of course,” he said. Yet the new data “show that this cross-talk starts from the very beginning. It’s a window into the inception of the brain-body dialogue, which is so central to most vertebrate life as we know it, and it’s quite beautiful.” The results also raise the possibility that these neurotransmitters may be acting at a distance, he added—by diffusing through the extracellular space, or going from cell to cell in relay fashion, after they have been triggered by a cell’s voltage changes.

Herrera-Rincon and the rest of the team didn’t stop there. They wanted to see whether they could “rescue” the developing body from these defects by using bioelectricity to mimic the effect of a brain. They decided to express a specific ion channel called HCN2, which acts differently in various cells but is sensitive to their resting potential. Levin likens the ion channel’s effect to a sharpening filter in photo-editing software, in that “it can strengthen voltage differences between adjacent tissues that help you maintain correct boundaries. It really strengthens the abilities of the embryos to set up the correct boundaries for where tissues are supposed to go.”

To make embryos express it, the researchers injected messenger RNA for HCN2 into some frog egg cells just a couple of hours after they were fertilized. A day later they removed the embryos’ brains, and over the next few days, the cells of the embryo acquired novel electrical activity from the HCN2 in their membranes.

The scientists found that this procedure rescued the brainless tadpoles from most of the usual defects. Because of the HCN2 it was as if the brain was still present, telling the body how to develop normally. It was amazing, Levin said, “to see how much rescue you can get just from very simple expression of this channel.” It was also, he added, the first clear evidence that the brain controls the development of the embryo via bioelectric cues.

As with Levin’s previous experiments with bioelectricity and regeneration, many biologists and neuroscientists hailed the findings, calling them “refreshing” and “novel.” “One cannot say that this is really a step forward because this work veers off the common path,” Huang said. But a single experiment with tadpoles’ brains is not enough, he added — it’s crucial to repeat the experiment in other organisms, including mammals, for the findings “to be considered an advance in a field and establish generality.” Still, the results open “an entire new domain of investigation and new of way of thinking,” he said.

Levin’s research demonstrates that the nervous system plays a much more important role in how organisms build themselves than previously thought, said Min Zhao, a biologist at the University of California, Davis, and an expert on the biomedical application and molecular biophysics of electric-field effects in living tissues. Despite earlier experimental and clinical evidence, “this paper is the first one to demonstrate convincingly that this also happens in [the] developing embryo.”

“The results of Mike’s lab abolish the frontier, by demonstrating that electrical signaling from the central nervous system shapes early development,” said Olivier Soriani of the Institut de Biologie de Valrose CNRS. “The bioelectrical activity can now be considered as a new type of input encoding organ patterning, allowing large range control from the central nervous system.”

Carvalho observed that the work has obvious implications for the treatment and prevention of developmental malformations and birth defects—especially since the findings suggest that interfering with the function of a single neurotransmitter may sometimes be enough to prevent developmental issues. “This indicates that a therapeutic approach to these defects may be, at least in some cases, simpler than anticipated,” he said.

Levin speculates that in the future, we may not need to micromanage multitudes of cell-signaling events; instead, we may be able to manipulate how cells communicate with each other electrically and let them fix various problems.

Another recent experiment hinted at just how significant the developing brain’s bioelectric signal might be. Herrera-Rincon soaked frog embryos in common drugs that are normally harmless and then removed their brains. The drugged, brainless embryos developed severe birth defects, such as crooked tails and spinal cords. According to Levin, these results show that the brain protects the developing body against drugs that otherwise might be dangerous teratogens (compounds that cause birth defects). “The paradigm of thinking about teratogens was that each chemical is either a teratogen or is not,” Levin said. “Now we know that this depends on how the brain is working.”

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These findings are impressive, but many questions remain, said Adam Cohen, a biophysicist at Harvard who studies bioelectrical signaling in bacteria. “It is still unclear precisely how the brain is affecting developmental patterning under normal conditions, meaning when the brain is intact.” To get those answers, researchers need to design more targeted experiments; for instance, they could silence specific neurons in the brain or block the release of specific neurotransmitters during development.

Although Levin’s work is gaining recognition, the emphasis he puts on electricity in development is far from universally accepted. Epigenetics and bioelectricity are important, but so are other layers of biology, Zhao said. “They work together to produce the biology we see.” More evidence is needed to shift the paradigm, he added. “We saw some amazing and mind-blowing results in this bioelectricity field, but the fundamental mechanisms are yet to be fully understood. I do not think we are there yet.”

But Nuccitelli says that for many biologists, Levin is on to something. For example, he said, Levin’s success in inducing the growth of misplaced eyes in tadpoles simply by altering the ion flux through the local tissues “is an amazing demonstration of the power of biophysics to control pattern formation.” The abundant citations of Levin’s more than 300 papers in the scientific literature—more than 10,000 times in almost 8,000 articles—is also “a great indicator that his work is making a difference.”

The passage of time and the efforts of others carrying on Levin’s work will help his cause, suggested David Stocum, a developmental biologist and dean emeritus at Indiana University-Purdue University Indianapolis. “In my view, his ideas will eventually be shown to be correct and generally accepted as an important part of the framework of developmental biology.”

“We have demonstrated a proof of principle,” Herrera-Rincon said as she finished preparing another petri dish full of beanlike embryos. “Now we are working on understanding the underlying mechanisms, especially the meaning: What is the information content of the brain-specific information, and how much morphogenetic guidance does it provide?” She washed off the scalpel and took off her gloves and lab coat. “I have a million experiments in my mind.”

Original story reprinted with permission from Quanta Magazine, an editorially independent publication of the Simons Foundation whose mission is to enhance public understanding of science by covering research developments and trends in mathematics and the physical and life sciences.

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Neuroscientist Explains One Concept in 5 Levels of Difficulty

The Connectome is a comprehensive diagram of all the neural connections existing in the brain. WIRED has challenged neuroscientist Bobby Kasthuri to explain this scientific concept to 5 different people; a 5 year-old, a 13 year-old, a college student, a neuroscience grad student and a connectome entrepreneur.

Late last month, while most Black Friday shoppers were looking for deals on high-definition televisions or new computers, Zach Killebrew was searching for Ingmar Bergman. Killebrew, a 24-year-old software developer, is the creator and moderator of Boutique Blu-Ray, a subreddit for obsessive collectors of high-end (and often pricey) movies. They’re the sort of fans who post photos of their latest Blu-ray scores, document their growing collections, and eagerly share updates on new “boutique” releases, which range from obscure ’80s horror flicks like Maniac to the 30-disc Ingmar Bergman’s Cinema collection.

It was that hefty Bergman box (which lists for nearly $300) that had Killebrew up late the night before its release scouring websites, calling local stores, and even contemplating driving to a mall about an hour away from his home in Smithton, Illinois, just to secure his copy. He eventually landed one right before the collection’s first printing sold out.

For dedicated Blu-ray hunters, such victories are hard-won. To most others, though, the notion of agonizing over physical media in 2018 is completely baffling. “My friends are always are always kind of puzzled when I say, ‘I went Blu-ray shopping,’” says Killebrew. “They usually say, ‘Why don’t you stream it?’”

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Within the small but thriving community of Blu-ray enthusiasts, the answers to that question tend to vary. Some are drawn to Blu-ray because of the unsatisfying video quality of streaming films; for others, it’s the sheer joy of tactile pop-culture paraphernalia, as some small-label discs come with elaborate packaging and hours of extras. “Customers want to see these movies on their shelves,” says Jesse Nelson, owner of Diabolik, an online store that’s been trafficking in rare and specialty movies since 2003. “They want to post pictures of them on Instagram sorted by director or label: ‘Look at all these great titles I have.’”

But one of the main driving forces behind the Blu-ray renaissance is the simple fact that the mainstreamers—which include everyone from Netflix to Amazon Prime to Apple—all have sizable gaps in their movie libraries. Those limitations have become painfully clear in the last year, as some film lovers looked around and noticed that many of their favorite movies, whether vintage releases or even semi-recent blockbusters like True Lies, were nearly impossible to find in digital form.

That point was reinforced by the sudden closure of the ambitious and well-curated FilmStruck, which featured Warner Bros. classics and arthouse flicks from Criterion Collection. FilmStruck’s demise made clear just how ephemeral streaming is: If your favorites aren’t on your shelves, there’s a chance they could disappear on short notice. “There are movies that I want to watch, or share with others, and increasingly they’re not there when I try to find them on Amazon Prime or Hulu,” says Killebrew. “Having a physical copy is my back-up.”

Killebrew’s video collection, which he estimates includes about 300 titles, features everything from arthouse entries to more out-there genre films—evidence of just how expansive the so-called “boutique Blu-ray” market has become. Its biggest players include outfits like Scream Factory, which focuses on classic and next-wave horror; the decades-spanning Kino Lorber, which has released everything from a six-disc box set on early female filmmakers to vintage dumb-fun Burt Reynolds flicks; and Twilight Time, which specializes in out-of-print studio entries, such as Robert Redford’s ace 1972 heist film The Hot Rock.

Then there’s Vinegar Syndrome, a Connecticut-based supplier of impossibly hard-to-find (and sometimes hard to describe) cult films. The company has become a bit of a cult fixation in itself: Its annual Black Friday sales are so popular that its eight-person staff actually shuts down its website for days beforehand, in order to prepare for customers looking for deals on movies like the evil-clown romp Blood Harvest and the 1989 Brad Pitt slasher flick Cutting Class (or, perhaps, some of the label's restored adult-film titles from the ’70s and ’80s). Many of Vinegar Syndrome's titles are low-budget genre horror, sci-fi, and sleaze flicks from the grindhouse and VHS eras, and were in danger of being lost or forgotten altogether.

“We're a film-first company,” says cofounder Ryan Emerson, who became interested in archival film work in the early ’00s. “We think of ourselves not as historians, because that would be a little weird, but as preservationists. When we look at a film, we say, ‘Would this stand a chance of coming out on Blu-ray if Vinegar Syndrome didn’t exist?’ And if the answer is no, we'll dive right in. We want to make sure these films maintain an audience, if not build one.”

Vinegar Syndrome, which operates its own scanning and restoration facilities, has digitally archived nearly 500 titles since launching in 2012. Its catalog includes seminal midnight movies such as the 1982 downtown-sci-fi epic Liquid Sky, as well as outré oddities like the wonderfully out-there 1978 nature-thriller The Bees. The latter is the kind of film that most fans likely never expected to find on Blu-ray, much less one that was digitally scanned from an original 35mm negative. “We get that lot: People saying they can’t believe that we’re doing these films,” Emerson says. “They also can’t believe that they’re actually selling.”

The company recently shipped its 100,000th order, driven in part by the annual Black Friday sale. (Emerson says that the event, which also includes the unveiling of surprise new releases, is so crucial to Vinegar Syndrome that staffers are already planning next year’s holiday.) Some of its customers engage in “blind buying”–essentially picking up a movie without having seen it, based solely on its title, its reputation, or a sense of curiosity. It’s a practice that captures the thrill of the hunt for collectors.

But it also speaks to a key facets of boutique Blu-ray culture: The sense that these films—no matter small or forgotten—are worth keeping alive, and within the conversation, at a time when streaming services are pushing a smaller, far more mainstream movie canon. Diabolik’s Nelson, a cult-film connoisseur, notes that the recent Blu-ray of Maniac, released by Blue Underground, has been a favorite among customers–including himself. “It’s a notorious movie,” he says of the famously gnarly 1980 flick, “but for some reason, I’d never watched it. I needed to have that in my collection.” It's a sentiment to which countless movie maniacs could no doubt relate.

Jennifer Lawrence is one of the best actresses of her generation. She is not, however, great at doing a Russian accent.

According to dialect coach Erik Singer, Lawrence’s accent in Red Sparrow was OK—but it could’ve been much better. "The back of her tongue is very loose and soft," he says in his latest Technique Critique video. "And the front of her tongue is a little bunched and kind of doing the work. I think if she’d flipped that equation so that the back of the tongue was bunched and stiff and sort of anchored and the front of tongue was spread out … I think she would’ve had a foundational logic that would’ve stitched the sounds together and made it more organic and flowing."(Alison Brie’s joke-y Russian inflections in GLOW, however, are great.)

Who else has the goods? Sam Rockwell does a fine job with the Ozarks accent in Three Billboards Outside of Ebbing, Missouri; Jeff Bridges gets Texas right in Hell or High Water; and Andrew Lincoln’s Kentucky inflections are “fantastic” in The Walking Dead.

Check out the video above to get Singer’s take on further performances from Dev Patel (Lion), Giancarlo Esposito (Better Call Saul), Lucas Hedges (Manchester By the Sea), and more.

The Unlimited Movie Plan Returns—For a Price

March 20, 2019 | Story | No Comments

A month ago, MoviePass finally gave up on its unlimited movie ticket dreams. The $10 per month plan had cost the company millions, sending its parent company’s stock price plummeting. In retreat, MoviePass instead now offers for the same $10 just three movies per month, with a limited selection. But MoviePass was never the only game in town. And now its less-known rival, Sinemia, has stepped into the void with an all-you-can-watch offering of its own. The unlimited plan is back. It’s just a lot more expensive.

That doesn’t mean Sinemia’s version is a bad deal; that depends on how much you use it. And it closely resembles the plan that made MoviePass famous: see a movie a day, every day—not including 3-D or IMAX formats—at whatever theater you want. You can even reserve seats ahead of time. Instead of $10, though, you’ll pay $30.

Sinemia CEO Rifat Oguz doesn’t expect his unlimited plan to catch fire the way MoviePass did. That’s because he sees it as just another option on a full spectrum of plans—Sinemia’s start at $5 for one movie ticket per month—designed to entice as many potential customers as possible.

“It’s not for everyone,” says Oguz. “There’s no one type of moviegoer. We’re all moviegoers. If you want to target all those segments, which is all the population, I think you need to have every option, even if they want to go every day.”

In fact, Sinemia already offers an unlimited plan in other markets, particularly in Europe—and has for years. It’s not the most popular plan in any of those countries, but it appeals to the most rabid movie fans, and has become a go-to lazy gift.

It also, importantly, hasn’t driven Sinemia to near-bankruptcy. Years of experience and data analysis have taught Oguz the price at which he can offer an unlimited movie buffet—about 2.5 times the cost of a single ticket in a given market—without giving his ledger a world-class bellyache.

That also explains why Sinemia, despite already having 10 active plans at different price points, hasn’t brought an unlimited plan to the US until now. “We couldn’t introduce unlimited because there was an unlimited, and it was $9.99,” says Oguz. “It would have been meaningless to introduce a three-times-more-expensive plan.” That meaning has been found, apparently, in the void left by MoviePass.

Oguz notes also that MoviePass parent company Helios and Matheson is publicly traded, meaning its mandatory financial disclosures provided some valuable clues to finding the pricing sweet spot.

Rifat Oguz, Sinemia

Of course, Sinemia now faces more competition than just the ghost of MoviePass. AMC, the nation’s largest theater chain, recently introduced its own subscription service, which allows for three movies per week, and includes more expensive formats like 3-D and IMAX. It costs just $20, a price point that Oguz has previously decried unsustainable. But while Oguz acknowledges that AMC Stubs A-List is a genuinely good deal, and that three movies per week might as well be unlimited for most people, he sees Sinemia as having its own advantages.

“We give you access to all movie theaters,” says Oguz, whereas Stubs A-List locks you into AMC only. “In our data, we’ve seen that people are more loyal to showtimes than to specific theaters.” AMC also only offers a single price point; if you subscribe month-to-month on Sinemia, you can downgrade to a lower, less-expensive cadence at any time.

Meanwhile, Oguz says Sinemia has seen a significant subscriber uptick in the wake of MoviePass’s retreat even before the introduction of unlimited. Whereas Sinemia's US business had been growing at 50 percent each month for its first year or so since it launched here, it saw a 50 percent increase over the course of just one three-day stretch in August.

“We fill in the gap, so that all customers, whether they’re coming from a competitor or not, they can have the plan that they want,” says Oguz. He also anticipates that Sinemia will continue to execute on its ambitions to broaden the scope of the service, as was MoviePass's original intent. It already integrates with Uber. It recently ran a promotion with Restaurants.com that gave subscribers a $20 gift card to dine out on. And it plans to introduce more night-out partnerships in the next month or so.

That doesn't mean Sinemia is perfect, or necessarily the best option for you. AMC Stubs A-List, in particular, is a compelling offer if you don't mind the theater restrictions, and some Sinemia subscribers have complained about a convoluted user experience.

But if you’re someone mourning the loss of the old MoviePass plan—and doesn’t mind paying what unlimited really costs—here’s your fresh start.