Netflix gave New York Magazine’s Josef Adalian a full-access pass for his #longread on the company. It’s a good piece and worth your time. Reading between the lines, I’d suggest that Netflix PR is aiming this one at the creative class/tastemakers in an effort to dispel the sentiment that a) shows are getting lost and b) data is running their decisions. You can sum up the narrative with a few quotes from the middle of the […]
People make mistakes.
Mia and Sebastian choose career over relationship, so I see them separated by the very city and idea that brought them together. The twin effect is a nod to the film’s sliding doors moment in the final scene: we are every possibility until we choose one.
Brilliant image for the Guardian’s piece on Netflix. It isn’t hyperbole, either. Netflix hasn’t been competing with Blockbuster or HBO or Amazon. They’e competing will Hollywood writ large—and have flawlessly taken away control of distribution and marketing from the studios and networks. As Ben Thompson points out in aggregation theory, the company who owns the consumer interface wins. Netflix owns it—and will only concentrate it further in the years to come. The drama now is […]
My homage to Mickey and Gus. I found the story of two people attempting to be vulnerable deeply moving and the ideal antidote to these deeply cynical times. Liner note: the triangle/circle motif comes from the 12-step sobriety chips. Bonus: Phone background
An exercise in extreme reduction. My favourite is the title split. (PS: the Heptapod symbol translates to “you have chosen life.” More here.)
Scottish writer Hope Whitmore wants what Scarlett Johansson’s Charlotte had in Lost in Translation, and it’s a lovely bag of wants: I want to sing Brass in Pocket on karaoke in a baby-pink wig. I want the freedom of an unknown city; a small girl anonymous amid the crowds under the neon billboards. I want to steal Bill Murray’s jacket and return it to him with tears in my eyes in a hotel foyer, and all of this in […]