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Ebert on Deuce Bigalow: European Gigolo [14 Aug 2005|12:20am]

If you're looking for some funny trash talk to read today, Roger Ebert is your man.

Ebert gives Deuce Bigalow 0 stars.

The review is hilarious. I won't spoil it with quotes, but here's a teaser from the intro:

“Deuce Bigalow” is aggressively bad, as if it wants to cause suffering to the audience. The best thing about it is that it runs for only 75 minutes.

If you click Advanced Search, you can find other movies Ebert has given 0 stars. The list includes Erik the Viking, which I remember thinking was funny.

It looks like his critic ego got a bit ruffled by Schneider going after some previous critics.

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We Will Transform Your Country Into a Sea of Fire [14 Aug 2005|12:23am]

Yahoo reports on a web site that collects North Korean propaganda. I think here we call it press releases.

Here's the Yahoo article.

I was pretty excited to see this, because I used to read the releases from the DPRK all the time as a researcher in college debate. Only, when I read them on Lexis-Nexis, they were usually in all-caps, which made the experience even better.

Don't miss the insult generator. I could do without the caricature, but whatever. The insults are hilarious.

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Toy Story [14 Aug 2005|08:56pm]

Toys and text. Buzz Lightyearism?

As a philosophy undergraduate, I wrote the final paper for my Philosophy of Marx class on the movie Toy Story.

Today I read The Toy Story Theory of the Text at The Valve.

There's some interesting ideas there, and I might have to dig out my own paper (yes, I think I still carry these things around) and think about it some more. Back then I noticed the way the movie could be read as backstopping acquisitiveness by creating nostalgia for old toys while also glorifying new ones. The problem with new toys is that the old ones stop selling. The best of both worlds from a profit standpoint would not have that tradeoff.

The Valve post thinks about text as toys.

And this is perhaps the real point of Toy Story Theory, the painful anagnorisis that all sentient toys/stories must experience before the credits roll: just as every toy is eventually going to be put on the shelf and put away, every story has a shelf-life in the mind of its reader, and must die.

Eventually the reader will “grow up,” which is to say, she will fully absorb the pleasures and possibilities of the fictional world embodied in both toy and story. She will want to go somewhere else, and have a different kind of experience.


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