Author’s Guild Facepalm of the Day

I can’t even deal with this shit this morning, so I’ll make it brief. Go take a look at latest screed from Scott Turow, the head of the Author’s Guild. I’ll wait.

Assuming you can remove your palms from your forehead long enough to continue reading this, I’ll note that Turow’s Guild was the one who fought against the text-to-speech function on the Kindle because he didn’t think blind people should be able to read books (all right, not his real reasoning, but it doesn’t make him any less of an ass). He also fought Google’s book scanning project, because I guess he doesn’t like people to be able to find books.

Now he’s fighting against … libraries, I guess? But the whole essay is less about authors and more about politics, as is evident when he starts to rant about our “socialistic” public library system and “Soviet-style repression.”

I have no idea why any author in their right mind would be a member of this organization.

The Best Films of 2012, Part II

Here we are again! Oscar 2013 is right around the corner, which means it’s time for me to release my predictions. I generally do a fairly good job (but of course, the award shows are generally fairly easy to predict), but this year, there are some categories that are definitely up in the air. If you missed my first post, detailing what I consider to be the best films of the year, check it out here. As always, any film marked in red is one I did not see, so take that into consideration. Away we go!

Best Original Screenplay

Amour (Michael Haneke)
Django Unchained (Quentin Tarantino)
Flight (John Gatins)
Moonrise Kingdom (Wes Anderson & Roman Coppola)
Zero Dark Thirty (Mark Boal)
Moonrise Kingdom and ZDT have a decent chance at this category, but I think Django takes it. The academy recognizes that Tarantino is a better writer than he is a director (though he’s not a bad director by any means!), Best Screenplay is often the consolation category for films that are too out-there to win Best Picture or Best Director.

Best Adapted Screenplay

Argo (Chris Terrio)
Beasts of the Southern Wild (Lucy Alibar & Benh Zeitlin)
Life of Pi (David Magee)
Lincoln (Tony Kushner)
Silver Linings Playbook (David o. Russell)
Here’s where I discuss the dark horse of the night: Silver Linings Playbook. It has a real shot to win not only this category, but many of the categories it’s nominated for, including Best Picture. To be clear, I didn’t like the film. I thought it was sappy, patronizing schlock that was saved from pure awful only through the talents of Jennifer Lawrence. Russell admitted he created the film to show his mentally ill son that mentally ill people can live normal lives. A commendable sentiment, but not one I’m sure is well served by the implication that a mentally ill man can generally shirk or ignore his treatment, be sort of a dick to everyone, be overly obsessed with a woman or life he can never have and still expect that a beautiful woman (Lawrence) will walk up, fall head-over-heels in love with you for no discernible reason and refuse to be put off by your behavior.
All right, I’m done. Sorry about that. Anyway, I think Argo is the favorite here. It was a solid script that turned into a fantastic movie. Life of Pi has a chance, maybe, and Lincoln is a longshot. But in my opinion, it’s between Argo and (ugh) Silver Linings.

Best Visual Effects

The Hobbit: An Unexpected Journey
Life of Pi
Marvel’s The Avengers
Prometheus 
Snow White and the Huntsman
The yearly “genre movie consolation prize.” The Hobbit is the pretty clear favorite here, in my opinion, simply because the Academy will likely want to recognize that, yes, another Middle Earth movie came out this year, and we didn’t forget about it. The Avengers has a shot, and Life of Pi definitely has a shot (beautiful movie), but I think Hobbit takes it in the end.

Best Sound Mixing

Argo
Les Miserables
Life of Pi
Lincoln
Skyfall
They sometimes give this to the action movie (action movie consolation prize!), but I think the musical holds more sway. Give it to Les Mis.

Best Sound Editing

Argo
Django Unchained
Life of Pi
Skyfall
Zero Dark Thirty
I don’t know man. I don’t think Skyfall will win, but other than that, the rest of the movies have an equal chance. I say Life of Pi, because Academy members will probably want to give that movie something.

Best Live-Action Short Film

Asad 
Buzkashi Boys
Curfew
Death of a Shadow
Henry
Curfew was my favorite of this list. It revolved around a suicidal former junkie meeting his niece and watching her for an afternoon, and while the subject matter has been done before, Fatima Ptacek does a fantastic job. Death of a Shadow is likely the favorite — it’s a creative, original, and visually arresting film about a man tasked with capturing deaths throughout history with his camera. Buzkashi Boys is also a contender, if only because it’s current — it was filmed in Afghanistan, with Afghani cast and crew in cooperation with an American team. It’s not the best short film, but its subject matter will likely propel it. Asad is a cute story made with Somali refugees, and while it’s clearly not the best acted film in history, it’s still enjoyable. Henry was emotionally manipulative and predictable, even if the acting was good.
Where was I? Oh, right. I’m going to pick Death of a Shadow, but Buzkashi Boys is a close second.

Best Animated Short Film

Adam and Dog
Fresh Guacamole
Head Over Heels
Maggie Simpson in “The Longest Daycare”
Paperman
The Simpsons short was cute, but it was just a reinterpretation of the “Ayn Rand School for Tots” bit from an old episode, and that episode did it better. Paperman got a lot of shares around the old Facebook, but I thought it was a shallow story (guy wants to meet pretty girl, then does!), and I thought the animation was trying too hard to look hand-drawn, which it ultimately failed at. Head Over Heels was an intriguing idea and a nice execution (elderly man and woman have opposite gravity pulls — man lives on ceiling, woman on floor), but ultimately I didn’t think it went far enough thematically.
Fresh Guacamole was my favorite of the bunch. It was a 2-minute long claymation (or maybe faux-claymation) movie about someone making guacamole out of some unconventional ingredients. Nothing flashy, but in two minutes it managed to be funny, charming and incredibly attractive. I loved it.
Adam and Dog is probably the movie that will win. It plops down a lovable dog into the story of Adam and Eve, it’s pretty and it tugs at the heartstrings. It’s my pick for this category.

Production Design

Anna Karenina
The Hobbit: An Unexpected Journey
Les Miserables
Life of Pi
Lincoln
I think The Hobbit takes it here, too. There were definitely some issues with the film, but let it never be said that Peter Jackson can’t put together a fabulous production team. Oh, and the less said about Anna Karenina, the better. Ugh.

Best Original Song

Before My Time (Chasing Ice)
Everybody Needs a Best Friend (Ted)
Pi’s Lullaby (Life of Pi)
Skyfall (Skyfall)
Suddenly (Les Miserables)
The general trend is to give this category to the ‘invented song’ for the musical, to recognize the vocal talent on the rest of the soundtrack, which is not eligible for nomination since it is not ‘original.’ There’s a strong possibility of that happening here, but I’m going to go with Skyfall, simply because Adele is Adele, and Suddenly was not a great song, even as ‘invented for the Oscars’ songs go.

Best Original Score

Anna Karenina
Argo
Life of Pi
Lincoln
Skyfall
None of these scores really stood out in my mind. But Lincoln has John Williams, and John Williams is to Oscars what Adele is to Grammies. 

Best Makeup

Hitchcock
The Hobbit: An Unexpected Journey
Les Miserables
Les Mis was nominated mostly for Anne Hathaway here, I’m pretty sure. And it was good. But I think the dwarves and goblins of The Hobbit get the gold here.

Best Foreign Language Film

Amour
Kon-Tiki
No
A Royal Affair
War Witch
So, as you can see, I’ve only seen one of these, but I’m still confident in predicting the win for it. If it doesn’t win, there’s not a lot of sense in the category. If, say, Kon-Tiki won Best Foreign Language Film, shouldn’t it have been nominated for Best (Overall) Film instead of Amour? Also, Amour is very well made. Slow-paced and personal, yes, but well made.

Best Film Editing

Argo
Life of Pi
Lincoln
Silver Linings Playbook
Zero Dark Thirty
I was originally thinking I’d pick Argo here, for reasons you’ll see when we get to Best Picture. But I actually think it’s going to go to Zero Dark Thirty. ZDT had some great editing, especially in the raid scene, and giving it Best Editing means that it gets some recognition, even if it got snubbed for director.

(Note: I saw none of the documentaries this year, so I have no opinion on them)

Best Director

Amour (Michael Haneke)
Beasts of the Southern Wild (Benh Zeitlin)
Life of Pi (Ang Lee)
Lincoln (Steven Spielberg)
Silver Linings Playbook (David O. Russell)
Weird fuckin’ category. The fact that Russell edged out both Ben Affleck and Kathryn Bigelow is pretty much a travesty. With what’s left, Steven Spielberg is obviously the pick. That might have been obvious even with Affleck in there, but it’s definitely true now.

Best Costume Design

Anna Karenina
Les Misérables
Lincoln
Mirror Mirror
Snow White and the Huntsman
Let’s go ahead and throw Mirror Mirror and Snow White out of consideration. I trust no one will object. Anna Karenina was a meh movie, but it has the ‘period piece’ thing going for it, so it’s at least in contention. I’m going to go ahead and give this to Les Mis, though, because I loved the Thenardiers’ outfits.

Best Cinematography

Anna Karenina
Django Unchained
Life of Pi
Lincoln
Skyfall
As I intimated in the previous post, the fact that The Master wasn’t nominated here was the biggest snub of the night, hands down. Not only should it be nominated, it should win the category. In light of that, I have no idea who the Academy will actually pick. Fuck, I’m surprised Silver Linings Playbook isn’t nominated here as well. I’m going to pick Life of Pi, though, because it was probably the runner-up after The Master.

Best Animated Film

Brave
Frankenweenie
Paranorman
The Pirates! Band of Misfits
Wreck-It Ralph

Wreck-It Ralph has a shot here, but not a big one. You just can’t beat Pixar, and Brave was a lovely film.

Best Supporting Actress

Amy Adams
Sally Field
Anne Hathaway
Helen Hunt
Jacki Weaver
Yeah, it’s Anne Hathaway. No question here.

Best Supporting Actor

Alan Arkin
Robert De Niro
Philip Seymour Hoffman
Tommy Lee Jones
Christoph Waltz
I don’t think Arkin nor Waltz will win here; their performances were too comedic. Great, but comedic, and the Academy prefers drama. De Niro might well be the favorite here, especially if Silver Linings starts winning things like Best Screenplay, and Tommy Lee Jones is also a possibility, since he was (IMO), the best part of Lincoln (and I normally don’t like him). I think Hoffman is the objective winner, though. He was simply astounding as The Master, and I’ll consider it a pretty big misstep if he doesn’t win.

Best Actress

Jessica Chastain
Jennifer Lawrence
Emmanuelle Riva
Quvenzhané Wallis
Naomi Watts
Wallis did a great job, but they aren’t going to give the award to a kid. Won’t happen. Naomi Watts did fine as well, but she spent most of the movie in a hospital bed groaning and vomiting, so I can’t see that happening either. Amour is too obscure for Riva to win, so it’s really between Chastain and Lawrence, and either woman could easily win. I’m going to pick Chastain simply because I have to pick one, and she has a slightly better chance. But I would not be surprised at all to see Lawrence win, and I would not complain.

Best Actor

Bradley Cooper
Daniel Day-Lewis
Hugh Jackman
Joaquin Phoenix
Denzel Washington
DDL is clearly the favorite here, and it would be a huge surprise if he didn’t get the trophy. Jackman is a dark horse, but I’d say he only has a 10% chance to win, with DDL at 75% and everyone else at 5%. I’m not opposed to this. I thought Daniel Day-Lewis did a competent job. I wasn’t blown away like everyone else was — it’s not the performance of a lifetime. But it was good.

Best Picture

Amour
Argo
Beasts of the Southern Wild
Django Unchained
Les Misérables
Life of Pi
Lincoln
Silver Linings Playbook
Zero Dark Thirty
So let’s talk about what won’t win. Amour is too foreign. Beasts is too experimental. Django is too Tarantino. Life of Pi is too hamfisted with its moral. 
That leaves us with Argo, Les Mis, Lincoln, Silver Linings Playbook and ZDT. Silver Linings is a possibility here, as I mentioned before — if the Academy starts giving it awards left and right, and De Niro, Lawrence and Cooper (ugh) end up sweeping, it could happen. Sad, but true.
The rest have about equal chances. Les Mis probably the least of them, but it’s an epic musical with inspiring performances, so I wouldn’t count it out. Zero Dark Thirty was sort of damaged by the controversy, so I imagine the Academy, as a fairly left-leaning group of folks, will likely not award it the Big One. Really, it’s between Lincoln and Argo, and if there’s any justice, Argo will win. Lincoln was simply not that great of a movie, for many reasons. It wasn’t really about Lincoln, for one thing, meaning that from the very title the film had trouble managing its tone (it should have been called The 13th Amendment or something). Argo, on the other hand, simply worked from beginning to end. Even though I knew the ending, it was the most tense film I’ve seen all year. Argo should win, if for no other reason than to give Affleck recompense for the Best Director snub.
So there you have it! My predictions for 2013. Let me know what you think in the comments, tweet me @MatthewBorgard, and be sure to check back after the ceremony and let me know how wrong I was.

The Best Films of 2012, Part I

Yay! It’s Oscar season again! AREN’T YOU EXCITED? Well, probably not — most people enjoy lambasting our OBSESSION WITH CELEBRITIES, so honest interest in the Academy Awards is often seen as antediluvian these days. That’s all right. There are certainly more important things, but then, I enjoy celebrating art, and the awards are an opportunity for me (and many others) to see films that we otherwise might not check out … films not about robots or superhumans punching each other.

With that out of the way, let’s start with the rundown of my favorite movies of the year. In no particular order!

1 – Cloud Atlas

All right, so I lied. There’s a partial order, here. Cloud Atlas is my favorite movie of the year, for multiple reasons. It was the most entertaining film. It was the film that most made me think, and it was the film that most made me excited for its home video release. 
Of course, Cloud Atlas was not nominated for Best Film. It was not nominated for much of anything, actually. And I understand why. The meaning and overarching themes of the disparate stories were a bit muddy (I would claim subtle, but others might say muddy, and that’s fair). Some of the actors (coughtomhankscough) hammed-it-up in some of the comedic moments. And that makeup — that godawful makeup that bordered on yellowface, really hampered any hope of garnering multiple Oscar nods.
But Cloud Atlas, for me, was the most affecting movie of the year. It’s given me a lot to think about for my own writing, and my own views on life as well. The book underlines a lot of that (and it’s fantastic — if I don’t get around to a full review, I highly recommend it), but I think the movie does a good enough job of highlighting the themes: oppression, enslavement, and the soul/reincarnation as a metaphor for inspiration. 
I also think some of the actors have been unfairly maligned, as they’re all pretty brilliant in different ways. Tom Hanks and Halle Berry were especially fantastic in the Sloosha’s Crossing (far far future) storyline. They handled the strange pidgin dialect with a natural understanding that could have easily come off as far too silly to take seriously.
I can’t wait to watch this one again, multiple times, devour all the commentary and sausage making. And I can’t say that about all too many films this year.

2 – Les Misérables

Well, I’m lying again. I can certainly say I’ll rewatch Les Miserables. I’m a massive sucker for musicals, which is why I own and enjoy Mamma Mia!, despite it being a pretty objectively poor movie. So I likely would have enjoyed Les Mis even if Tom Hooper hadn’t done such a good job of it. Thankfully, he did!
His best choice, of course, was hiring Anne Hathaway. She got some shit early on about being too young for the role, and when the trailer was released, for being too ‘teary’ while singing (because surely one should be more upbeat and operatic when singing about the complete dissolution of ones life). Well, those early critics should be eating a nice meal of either hat or crow, as Anne Hathaway’s performance was the single-most gut-wrenching, soul-devouring few minutes of cinema this year. She knocked it out of the park, no questions, and that alone would have been enough for an Oscar-worthy film.
The rest of the movie, however, is more than solid. Hugh Jackman was fantastic as Jean Valjean. Tom Hooper’s unconventional shot layout worked to give the movie a sense of uniqueness. And Russell Crowe … well, I need to see it again to decide how I feel about him. I didn’t love him (his singing was far too flat, though I believe that was a conscious choice), but I didn’t hate him either. That aside (and aside from the weak “bonus song” musical films always have to add to get the Original Song nomination), Les Mis was nearly a perfect musical film.

3 – Argo

I called Ben Affleck’s The Town one of my favorite movies of 2010, and got some snide comments because of it. Really? Ben Affleck? REALLY? Well, if his Oscar for screenwriting (yeah, everyone always forgets that, huh?) wasn’t enough, his role in directing and starring in this fantastic (and Golden Globe winning) film should put Gigli out of everyone’s head. 
Historical films always have the thread the needle, balancing veracity with entertainment value. Stick to close to truth, and you end up with a movie with absolutely no tension (Zero Dark Thirty had a little bit of this; the Bin Laden raid scene, while still entertaining, was not all that thrilling, because we knew exactly what was going to happen). Go the other way, and you open yourself up to a lot of criticism. 
Argo solves this problem by focusing on the characters — character emotions and conflict (something I thought ZDT could have used more of). That’s not to say that there’s no dramatization. Argo has been criticized for minimizing the roles of several Commonwealth countries in helping the CIA’s operation. But it gets it right where it counts.
Of course, as great as the tension is (especially in the final scene — WOW!) some of the best parts of the movie are the humorous ones. Alan Arkin surely deserves his Supporting Actor nomination, though it’s sort of surprising that John Goodman didn’t garner one as well.

4 – Django Unchained

I love Quentin Tarantino. There, I said it. There’s sort of a nouveaux-hipster mentality among some film fans and critics that Tarantino’s films are overrated, silly, overly violent or just plain bad. I’ve heard it said that he’s been unable to match the brilliance of Pulp Fiction, and is now just sort of flailing around, splattering blood everywhere.

Which is pretty much crap, in my opinion. While I can understand the divisiveness of Kill Bill (I love it, but it’s a very stylized movie created as an ode to a relatively obscure genre), his next film, Inglorious Basterds, is a straightforward tale (other than the alternate history) and has the honor of being one of my favorite movies ever (as well as my favorite Tarantino flick).

While Django didn’t quite knock Basterds out of the top spot, it still blew me away. As I said on Facebook some time ago, the movie automatically gets points for being one of the few movies about slavery that isn’t about either a) the quiet bravery that rests in the soul every black slave, or b) how awesome a certain group of white people were for ending it.

No, Django is about a freed slave’s vengeance, pure and simple. While it’s a bit more personal in scope, the issue of slavery plays a massive role, and any movie that can address old ideas in a new matter is worthwhile. Thankfully, Django is also brilliant. Jaime Foxx reminds us that, yes, he can act pretty damn well, Leonardo DiCaprio plays a wonderfully sadistic villain, and Christoph Waltz is astounding in his role as the somewhat-more-educated Yankee bounty hunter. To be sure, this movie’s views of slavery and race relations are not, shall-we-say, layered. There’s no, “well, slavery was a complex issue, the south wasn’t racist, per se…” Nope. The South’s a pretty ass-backwards place, and Southern slaveowners are straight up pieces of shit. I liked it. Some might not.

Oh, and there’s Kanye on the soundtrack. So there’s that.

5 – Cabin in the Woods

Every year, I like to include a dark horse of sorts. A film that was never expected to get nominated for much of anything, nor was it ever seriously in contention, but one I still think represents a filmmaking or storytelling achievement.

This year, that film is Cabin in the Woods. It’s hard to say too much about it without spoiling it — and if you haven’t seen it, you absolutely should. I promise you it’s not a run-of-the-mill slasher film. At all. In fact, the movie is all about critiquing your run-of-the-mill slasher films. It’s one of the most pointed criticisms of that genre I think I’ve seen, and the film is able to make those judgments while still providing an absurdly entertaining story that takes place, more or less, within the horror genre itself. And even further than simply criticizing the people who make the horror films, it’s criticizing the people who watch the films — which include a fair portion of Cabin’s audience, as well as its filmmakers. Brilliant.

Oh, and there’s REO Speedwagon on the soundtrack. So there’s that.

Honorable Mentions

Brave

Speaking of movies with rarely-addressed issues, we’ve got Brave, a movie whose entire plot revolves around a mother-daughter relationship. In my review of Tangled, I noted how the conflict centered on a dysfunctional mother-daughter relationship. The conflict here is similar, but the difference is that Merida and her mother have a significantly more loving relationship, and the conflict is about them figuring that out. 
Brave wasn’t quite as good as Tangled for me (part of that might be that it’s not a musical 😉 but it’s still fantastic. And the animation is gorgeous. Pixar continuously outdoes itself, and continuously outshines everyone else in the industry. Even Wreck-It Ralph, also created by Disney (but not Pixar), comes nowhere close. While Ralph was great, it’s still not quite as mature or emotional as Pixar’s entry this year, and I’m hopeful that Brave will take home the statue for Best Animated Feature, at the very least.

The Master

The artiest film on this list, The Master is not quite what I expected going in. I’d been hoping for a takedown of Scientology and its benefactor, L. Ron Hubbard. I was actually worried when I’d heard they’d changed the title character played by Philip Seymour Hoffman into a pastiche who was only inspired by Hubbard.

The Master is not about Scientology, and while there are criticisms, they aren’t as important to the film as I’d hoped. And yet, the film is still powerful. Like Django, it takes a broad issue and makes it extremely personal. Joaquin Phoenix portrays a broken man whose unidentified illness makes him somewhat immune to Hoffman’s brand of ‘healing,’ but whether this is a good thing or a bad thing, the film leaves as an open question. Amy Adams is similarly fantastic, and were it not for Anne Hathway, I’d say she was the favorite for Best Supporting Actress.

I will also say that the lack of nomination for Best Cinematography is absolutely the biggest snub on this year’s list — especially given the fact that it was beaten by Anna Karenina and Skyfall.

The Sessions

A sweet little film about a disabled man and a sex therapist. There’s not really much more to say about it than that. The films progresses exactly as you’d expect, and other than a wholly unecessary epilogue, there aren’t really any twists and turns.

The film’s success rests squarely on the shoulders of its two lead actors — John Hawkes and Helen Hunt. The fact that Hawkes failed to get a nomination, but Bradley Freaking Cooper in the dreadful Silver Linings Playbook was picked, is the second biggest snub of the night.

And the rest

You’ll notice some pretty big holes here — no Life of Pi, no Lincoln, no Silver Linings Playbook. And that’s intentional. I saw more Oscar nominees this year than any other, and it seems like I enjoyed  I’ll discuss some of those in the second part of this post, but just in general, I’ll say that I thought most of the Oscar nominated films this year were fairly mediocre. There are some years where I like nearly all of the five or ten nominees for Best Picture. This year is not one of them.

What do you think?

Any glaring omissions? Any unbelievable inclusions? Let me know! Post a comment, or hit me up on Twitter @MatthewBorgard. In the second part, I’ll tell you who I think should win, who I think is going to win, and give you some brief thoughts on the nominees that I didn’t address here.

A Quick Interlude

Hey y’all! Sorry for the lack of updates — I’m head-down focused on finishing up Chanter and whipping it into a presentable form right now, so I haven’t been blogging all the much. I’ll make it up in a few weeks, I promise! My Oscar writeups are coming, and I’ve still got to finish my Feast for Crows character sketches. It will happen.

For now, though, I’m over at Sirens Call’s blog talking about my Internet inspiration for The Bridesmaid, my story included in the “Legends of Urban Horror” anthology. Check it out, then stick around and check out the other posts for more author inspiration!

New Release – Legends of Urban Horror Anthology

Today is release day … sort of! My latest story, ‘The Bridesmaid,’ is featured in Siren’s Call’s newest anthology, Legends of Urban Horror: A Friend of a Friend Told Me. In addition to my entry, there are some great spooky tales in here, so I highly recommend checking it out. Here’s a short synopsis:

We’ve all come across them. The warnings told by a friend of a friend – don’t go in there, I wouldn’t if I were you, did you hear about…? Or perhaps your mind leaps to the cryptozoological realm – creatures barely glimpsed, and yet to be identified. Other spheres of existence – they can’t be real… certainly not until you’ve experienced one! Maybe the real horror lies in the minds and hearts of others just like you. People with a slightly bent perspective that feed on the fear in others. Twisted souls that would take advantage of the weak, or vulnerable. Those who believe they are doing good for a higher power, or to gain power simply for themselves. Petty vengeance that breathes a life of its own once unleashed. Whatever your poison, the ten stories in Legends of Urban Horror: A Friend of a Friend Told Me are sure to intrigue, and perhaps bring back fears long forgotten.

As an additional incentive, I’m posting a very short excerpt of the story for your enjoyment. Check it out, leave a review, let me know what you think!


Excerpt from The Bridesmaid

I don’t think about the place again — honest, I don’t — until a few nights after that. I wake up screaming, all sweaty and gross, and turn over to look at my clock. It’s three in the morning. Em’s snoring next to me, completely oblivious. I guess I wasn’t loud enough.

It wasn’t the scariest nightmare I’ve ever had, by any means. The bridal shop is there, I go inside, run down a seemingly never-ending hallway that finally opens up into the art studio, and I see him there. Mister Painter. Only this time, he isn’t smiling. His face is all twisted up with fear. He holds up a hand to me, and for a minute I’m scared he’s going to have a gun. Instead, he shows me his palm. In the middle of it is a pulsating green light, buried into his hand like someone just hammered it in. The skin around it is the classic grotesque shade of red and white that just screams infection. I ask him what he wants, but he doesn’t say anything. The dream ends. See? Like I said, hardly Freddy Krueger.

I decide not to wake Emily and instead get up from bed and pull on a pair of pajama pants. We don’t have any roommates, but I still feel weird going out to the living room in my skivvies. The fridge beckons me over, so I open it up to see if anything inside calls to me. Milk, juice and leftovers. Bleh. I just pour myself a cup of ice water and lean against the sink while I hydrate and cool off. Em’s school books are there on the table, along with pens and notebooks. I open the thickest textbook, some anatomy thing, and flip through the pages while sipping my water. That bores me pretty quickly, so I close it and look over at the closest notebook, open to a blank page. And I don’t know why, but I pick up one of the pens and start to doodle.

It seems like only a few seconds pass, but when I set the pen down and look up at the microwave, it’s almost four o’clock. My gaze falls down to the paper and I drop my glass. Thankfully, it falls harmlessly onto the table instead of the floor.

Em’s notebook is covered in the horrifying scrawls of Isabella’s Formalwear. Only they didn’t come from Mister Painter; they came from me. Veiny eyes on each corner, a massive black pyramid, incomprehensible equations, and of course, strange, hulking humanoids all around. Blob-men.

I rip the page out of the notebook, crumple it up and toss it in the trashcan. Then something touches my foot. I cry out and nearly upend the table before I realize it’s just the water I spilled. I calm myself down, then grab a paper towel and mop it up. Kneeling down beneath the table, I start to cry, just a little. I don’t know why. I don’t cry. I’m not a crier. I blot the tears and blow my nose into the paper towel, which I then throw away. The picture taunts me from its place atop the heap. I push it down and bury it under banana peels and old homework assignments, then wash my hands and go back to bed. It’s the nightmare, I tell myself. It must have bothered me more than I thought. I fall asleep angry at my own brain.

(Paperback from AmazonKindleSmashwords)

Why Nate Silver is Awesome, but not a Wizard

The 2012 election is now officially over. The dust has (mostly) cleared, the winners and losers have been (mostly) identified, and the accountability game has started up. Who made the best predictions? The worst? Did Tagg Romney take a swing at anyone on election night?

Some of these questions may never be answered. But it’s clear in the wake of the results that The New York Times’ (and former DailyKOS blogger) Nate Silver is being heralded as a modern-day oracle, possessing of superhuman knowledge and predictive skills. #NateSilverFacts has taken off on Twitter, generating a list of impressive feats about the Chicago Economics-bred statistician (my favorite? “Nate Silver can recite pi — backwards.”)

Does he deserve the credit? Absolutely! He’s been doing this since the 2008 primaries, and while he’s always been known in political blogging circles, it’s great to see him get some mainstream recognition. That said, equating him to a wizard is sort of problematic to me, not because Silver isn’t awesome (again, he is — his book, The Signal and the Noise, was one of my favorite reads this year), but because it highlights the fact that the rest of us should be doing a lot better.

This whole concept is especially interesting to me, as the novel I’m working on finishing up for NaNoWriMo (uh … right after this post, I swear) is about a guy who predicts the future with mathematics (sort of akin to Foundation, but more fantastic than science fictional). So … yeah.

With that in mind, I’d like to present a few reasons why Nate Silver is not a wizard — and most of these assertions actually come from Silver himself.

The Basic Idea is Simple

Nate Silver’s model is, by all accounts, a complicated beast. It aggregates polls in a sophisticated manner, weighting them according to previous pollster performance. It also uses economic data and accounts for certain ‘bumps’ (naming VP candidates, conventions, etc) to come to a conclusion. And as we saw Tuesday night, it’s pretty damned accurate. At the presidential level, Silver called 51 out of 51 races correctly.

That’s impressive. But how impressive, really? There’s something called the Pareto Principle (also referred to in Silver’s book as the Power Law Distribution, or 80-20 rule) that can be applied to a large number of endeavors — the most basic formulation is that 80% of your sales will come from 20% of your customers, or in software, 80% of your bugs will come from 20% of your code.

In political predictions, I’d claim that you can become 80% as accurate as the big guys (Nate Silver, Sam Wang at the Princeton Election Consortium, who also had a fantastic night) with 20% of the work. In fact, I’d claim that the truth is probably something like 90-5 — 90% as accurate, 5% of the effort.

Can I back that up? Sure. Let’s take a look at RealClearPolitics. RCP is a right-leaning poll aggregator started by Steve Forbes. It’s simple. Every single state poll* is averaged to get a final number. That’s about as easy as it gets, folks. Assuming we don’t count things like web design, all we’re doing is averaging numbers. I can write that program in less than five minutes. So how did RCP do? Pretty damn well. At least 80% as well as Nate Silver.

As far as I can tell, they called 50 out of 51 races correctly. The one they missed was Florida, which even Nate Silver called a coin flip, and even then, RCP didn’t miss it by all that much.

This is not to denigrate Mr. Silver, or claim that he’s wasting his time. Instead, it’s meant to admonish people who say “Well, sure, but he gets paid to blog and predict full-time. Come on, that’s not fair.” This stuff is not incredibly hard. It was easy to see that Obama would win if he won Ohio, and as Silver pointed out on Twitter, Obama had lead in something like 98% of Ohio polls in the week before the election.

Predicting Tomorrow is Easier than Predicting Next Year

Nate’s final prediction range for the electoral results — the president winning re-election with somewhere in the neighborhood of 313 electoral votes — was fairly accurate (at the time of this writing, it seems likely President Obama will win Florida, netting him a total of 339 EV). Not bad, right? But that’s the day before the election. Fivethirtyeight went up in June of 2012, and since then, it’s been something of a rollercoaster. While Obama always maintained a lead, the range went up and down dramatically, decreasing to a low of 285 EV after the first debate.**

Is that a problem? Perhaps not. We should always adjust our predictions to account for new data. But at the same time, that adjustment doesn’t mean we get to discount problematic predictions. I might predict a sunny morning on Tuesday, but if I see black clouds coming in late Monday night, I’m obviously going to change that prediction and take an umbrella. Doesn’t change my initial forecast, however.

We can make judgements about the usefulness of far-out forecasts, of course. To take the weather metaphor even further, predicting rain two weeks in advance is much more impressive than doing so a day in advance, but is it appreciably more useful? Maybe in some cases (taking a vacation?) but probably not most.

So give Nate Silver credit for his final forecast, but keep in mind that the model wasn’t a magical prediction machine that foresaw events like the lopsided conventions, Romney’s debate performance and Hurricane Sandy. That realization leads us to…

His Model Isn’t Perfect

Fivethirtyeight called every state correctly at the presidential level, but it wasn’t all perfection. Some margins were off fairly signficantly. Silver predicted Obama would win Ohio by 3.6 percentage points; he actually won by less than 2. He projected Florida to be a literal tie (though he did think it slightly likelier than not that Obama would take the state); Obama is expected to win by a full percentage point when the counting is finished.

On the Senate level, we see some misses. While most of the states were called correctly, Montana and North Dakota were predicted to be taken by the Republican candidates with a 67% and 93% likelihood, respectively. Democrats won both races.

In fairness, these are probabilistic predictions, not guarantees. If I roll a die and predict I’ll roll a number between 1 and 5 with a 83% probability, that doesn’t make my prediction incorrect if I roll a 6. And furthermore, Silver includes his uncertainty about his predictions, generally stated as a margin of error.*** But if someone gave Silver 9 to 1 odds on Heidi Heitkamp losing ND based on his model, he could have lost quite a bit of money.

I think Mr. Silver would be the first to admit his model is not perfect. He says as much in his book, predicting that once the media and campaigns start to catch on to his basic methodology, he will probably be outclassed. I’m sure his model will continue to improve in 2014 and 2016. But improvement is definitely possible.

The Bar is Low 

In the land of the blind, the one-eyed man is god. Or wizard, or something. Silver’s predictions are quite accurate, but at the same time, he doesn’t really have substantial competition. Pundits suck. Everyone knows it. Nate Silver himself knows this — in his book, he performs a study which concludes that predictions made by political pundits (in this case, on The McLaughlin Group) are no more accurate than a coin toss. And while he doesn’t make any strong claims as to why this is, I think it’s pretty clear that it’s not just laziness — it’s that there’s no incentive for a pundit to be accurate, as the political parties pay them to toe the party line, and the media facilitates it in the name of being “fair and balanced” and “hearing both sides of the story.”

But imagine we lived in a world where campaigns readily accepted polling data (whilst recognizing that no individual poll or polling organization or going to be perfect). Imagine we lived in a world where pundits like Dick Morris, who is renowned for poor predictions and forecasted a Romney landslide, and Jennifer Rubin, who had been predicting a Romney win for ages, then after the election, straight up admitted to lying about it all, were fired and never listened to again.

In that world, Nate Silver would be a pretty average fish in a big pond, I would think. As it stands now, he’s a trout sitting at the top of a bucket of dead minnows.

In Conclusion: Nate Silver is awesome, but that’s no excuse for others not to be.

Really, the whole point of this post is not to take anything away from, or even bolster, Mr. Silver’s analysis. He has plenty of detractors, defenders, and judging from his sales post-election, money. What I do want to get across, however, is that the rest of us, and the media in particular, should be doing a lot better. Republicans who were utterly shocked by Romney’s loss may have bigger problems than who is president — they might living in a bubble impervious to rational thought. Those Democrats who had the same reaction in 2010, or who in 2012 thought that the House would gain a massive Democratic majority as the populace stood up and loudly rejected conservatism, are similarly in trouble. Even worse are certain segments of the  punditocracy, who in the name of ratings, decide to ignore anything that doesn’t fit with the narrative they’d like to tell.

Nate Silver does solid work with honest numbers. We should be demanding the same of all our talking heads.

Finally, some advice for the Republicans

You’ve been hearing this from pretty much everyone, but allow me to reiterate. Your constant dismissal of Nate Silver (and Sam Wang, and many others) is yet another data point in a worrying trend, namely the refusal of certain higher-ups in your party (and lower-downs in your base) to reject facts. Being an underdog doesn’t mean you’re going to lose; it means you need to work harder, and be prepared if you fall short. We can argue about the extent of global climate change and the optimal decision for an individual government to make. We can argue about whether gay and lesbian Americans should have the right to marry, as abhorrent as I find even pretending that there’s a moral counterargument to that.

But there is no arguing that Barack Obama was the huge favorite to win the 2012 election. There is no arguing that carbon emissions from fossil fuels have exacerbated a problematic greenhouse effect. There is no arguing that sexuality is not something that can be dismissed or changed by praying hard enough.

These are facts, and facts are immutable. Denying them and ignoring them will lead to failure. Always.

* RCP has a habit of excluding certain polls, sometimes with justification, sometimes not. I suspect it would be more accurate if it included everything — let the right-biased polls be counteracted by the left-biased ones.

** FiveThirtyEight also included a daily “NowCast,” a prediction of the results if the election were to have been held that day. If Silver’s model was 100% perfect, I’d expect the NowCast to change substantially each day, while the Election Day forcast would stay completely same. Obviously, no model is perfect.

***One of the funny things about margins of error is that, though uncertainty is a sign of an honest prediction, they can be abused. I don’t think this is the case with Nate Silver (though his +-70 EV margin might be viewed as a large range), but one can easily see how this could be the case in general. It’s not really fair for me to predict an earthquake next year centered in downtown Los Angeles with a 3000-mile margin of error, and then claim I called it correctly when something rumbles up in Canada.

Friday Fun: Overclock Remix’s FFVI Kickstarter almost finished!

Happy Friday! It’s been kind of a weird week (or two) what with all the Reddit stuff, politics, and getting ready to move into my house (my first time dealing with lenders, builders, landscapers, etc). So I thought I’d throw up something light for Friday — look for this to continue on Fridays for the foreseeable future.

Today I want to talk about OverClock Remix. It’s a fantastic website for anyone into video game music, and I’d be surprised if there are any VGM aficionados out there who haven’t at least heard of it. It’s essentially a community dedicated to remixing songs from video games and providing those remixes completely free-of-charge. If you need to take a peek at their body of work, all their songs are available at their website, and if you want to listen to a big chunk, their newly redone torrents containing every song they’ve ever done are likely to be right up your alley.

There’s more, though. The past few years, OCRemix has gone from doing individual songs, to remixing entire game soundtracks. They’ve done soundtracks for Donkey Kong Country, Final Fantasy I,IV,V and VII, Wild Arms, Pokemon, Zelda and tons more. Now they’ve set their sights on one of my favorite games ever, Final Fantasy VI, with an album called Balance and Ruin. And not only are they releasing the music free, digitally, as they always have, but they’ve also created a Kickstarter for a physical release.

Check it out!

With a week left, they’ve wildly surpassed their goal (and even added physical releases of previous albums to the rewards!) but there are still slots left to get your hands on the album. To encourage you to kick a few bucks their way, I’ve posted some of my favorite tunes from the game. The first two are remixes from OCRemix, entitled “Cid in the Factory” and “Arab Painting.” If you’re new to the site, these two should give you an idea of the diversity of musical styles that OCRemix plays with.

And finally, I have to post the climax of the soundtrack: the ending theme. One of my favorite pieces from the entire series, it’s a shame this has never been properly remixed or orchestrated. Hopefully Balance and Ruin changes that.

Have a chill weekend, and I’ll see you next week!

Better than Nothing

[Content Warning: This is a piece about an underage prostitute, and is not particularly cheery]
 
    She makes herself smile as she slathers another coat of blush on her face. She thinks it makes her look like a clown but the other girls say it’s just the way things are and new pussy shouldn’t ask questions. The other girls never talk to her much, but she doesn’t really mind because they’re old and they’re scarred and they’re not nice, not even to each other. But it makes her miss her friends. She used to have friends.

    She walks out into the hall and Daddy’s sitting on the couch with his brother, smoking his bud. He’s not her real Daddy, of course — she doesn’t know anything about her real Daddy other than he knocked Momma up in high school and left town right after. This Daddy doesn’t like when she interrupts his “me time,” but that’s pretty much all the time and she needs a ride to 36th and Prince because he said if she doesn’t make at least two hundred tonight he’d take it out on her ass.

    “Hey Daddy,” she says, but it comes out as more of a cough as the smoke dancing in the room hits her throat. Neither of the men notice her, so she says it again, and her voice sounds more like the 13-year-old girl she is than the 18-year-old girl she’s trying to look like.

    “Fuck you want?” Daddy says without looking up.

    “I need a ride.”

    “Ain’t my fuckin’ problem. You got your own two legs, don’t you?”

    “Yeah, I got legs,” she replies. Daddy doesn’t like it when you don’t answer his questions.

    “Then fuckin’ walk.”

    His words sting. She hates the way he talks to her now, but more than that, she hates herself for being so hurt by them. She sniffles, and Daddy holds out an arm. She backs away, afraid he’s gonna hit her, but he wiggles his fingers and she walks forward. He bends her down and places a soft kiss on her cheek.

    “Do good tonight, okay Baby? Do good and I’ll take you out.”

    “All right,” she says. “Night, Daddy.” She heads toward the door, holding a hand to her face. It reminds her of when she first met him, when he said he wanted to be with her forever.

    She picks her purse up off the ground. There’s nothing in it except a pack of condoms, some cheap lip gloss and a stick of gum. She found both of those on the sidewalk last night before the fat old man picked her up. She almost chewed the gum after he bust in her mouth, but now she’s glad she saved it cause her stomach is groaning and it’s not real food but at least it’s something.

    Outside it’s that strange sort of weather between snowing and not-quite. The grey sky makes it seem like a different world, and she wishes it was. It’s not cold outside and she almost thanks God, but then she knows she doesn’t have a whole lot thank God for ‘cause He could probably give her more than a warm night if He really wanted to. 

How Women Play The Game: Part Two of Five

Welcome to Part Two of my ‘A Feast For Crows’ blog series exploring the vastly different ways the women in the novel play The Game of Thrones. This will contain SPOILERSOMG up through the end of A Feast For Crows. The previous entry covers Cersei Lannister playing by the rules. This week, we’re going to take a trip to the Iron Islands.

Ignoring the Rules ~ Asha Greyjoy

If there are rocks to starboard and a storm to port, a wise captain steers a third course. I shall [show you] … at my queensmoot.

Illustration courtesy S. McCrea 
Oh man. What can I say about Asha Greyjoy? I mounted a defense of Cersei in the last installment, but that’s wholly unnecessary here. I haven’t met anyone who thinks of Asha as anything but a badass, self-sufficient woman who’s able to carve out a fair amount of power for herself it an aggressively male-dominated society (though, being the daughter of the king helps).

In some ways, Asha is a lot like Brienne of Tarth (who we’ll get to in a future post). Both reject the path their societies have dictated for them, and both do so vehemently and without second-guessing themselves. In other ways, however, the two couldn’t be more disparate. Brienne doesn’t reject the concept of patriarchy and gender roles — she just considers herself placed in the wrong role. While Brienne hides her femininity whenever possible, Asha embraces it. She doesn’t pretend to be anything other than a woman. She doesn’t call herself ‘king’ when asserting her right to the throne; she is a queen through-and-through.

This, of course, presents some problems for her. While it’s hard to say for certain, I suspect that if she had cut her hair short, taped down her breasts and called herself by a male name, she might in fact have an easier time gathering support for her reign. The Ironborn are all about tradition; even overturning the strictly hereditary rule of the Greyjoys is only allowable because the tradition of kingsmoot supports it. Thus, a king would likely be far preferable to a queen, even if that “king” was only arguably male (and to be sure, it would take a lot of arguing on Asha’s part).

But Asha don’t play that. As referenced in the quote above, she ignores the rules of the game and chooses a third path. To be unabashedly female while claiming the rights and duties of the male son of King Balon. And it goes … okay.

Asha’s queensmoot is mostly a failure for her, and the crown is handed to Euron instead. Arguably, however, this is less because of her sex and more because of her commitment to a level of pacifism which doesn’t contrast well with Euron’s promise of a-rapin’ and a-pillagin’ (one could, I suppose, argue that Asha’s less violent stance is a function of her gender and upbringing, but I digress). Though many of the Ironborn initially seem to support Asha’s claim, Euron’s promise to conquer all of Westeros is too tempting to ignore.

There are two main takeaways from this. One is that Asha does much better than anyone, especially her uncles, actually expected. Could it be that the Ironborn aren’t as adherent to gender roles as we assumed? Well, yes and no. Mostly no. Women still have an awful time in the Iron Islands, which is saying something given how misogynistic the mainland of Westeros is. One look at the concept of salt wives, the slave concubines of Ironmen, is enough to prove that. But the kingsmoot proves that this lack of respect for women is not necessarily unrelenting for an individual woman. This is a common theme when dealing with feminist characters in a decidedly non-feminist world — disadvantages can be overcome if you’re strong enough, smart enough and persistent enough.

The other interesting aspect of the kingsmoot is that it’s not quite clear whether Asha’s gender actually damns her. One the one hand, it’s clearly Euron’s appeal to violence and use of the dragon horn that puts him over the top. The crowd doesn’t really care what he’s got dangling between his legs; they want plunder and dragons.

On the other hand, if Asha had the clear, unambiguous support of several of her uncles, especially Aeron and his vassals, she would have been in a much better position to take the throne. Even in the face of Euron’s appeal-to-dragons (which is by far the best rhetorical device since the Chewbacca Defense), a clear descendant with the backing of Ironborn leaders likely would have prevailed. It was Asha’s gender which prevented her from getting the support of her uncles, and it’s very possible that sans this little detail, Asha would have been propelled to victory.

This doesn’t detract from Asha’s power as a character, though. If anything, it adds to it. It’s good for characters to fail, and smashing the patriarchy is far from trivial. More often than not, the hammer will bounce off the glass and hit you in the face. But that doesn’t mean it’s not worth trying, and it doesn’t mean that adhering to society’s expectations is the only sensible course of action. I’m with Asha: play the game, but screw the rules.

Reddit, Jezebel, Free Speech and Anonymity on the Internet

For those of you who don’t follow Internet drama, congratulations. You almost certainly have a more fulfilling day-to-day life than I do. But there were some pretty interesting events over the past week that I feel compelled to write about.

Reddit is an extraordinarily popular website. It’s basically an open slate — users can submit links (or simply text, like questions or statements), other users vote these links up or down and the most highly upvoted jump to the top. Reddit has something of a problem with misogyny and racism, as you’d expect with an unmoderated site. One community in particular, known as /r/CreepShots, is wholly devoted to taking pictures of unknowing, non-consenting women’s body parts in public (usually in tight pants or low-cut shirts) and posting them for users to masturbate to.

ShitRedditSays, a group formed to call out misogynist, racist bullshit on Reddit, started a media campaign to get CreepShots shut down. This was mostly a failure … until yesterday, when all hell broke loose. A (now defunct) tumblr popped up detailing names and personal information of several of the CreepShots creeps, and Jezebel posted an in-depth story covering the controversy. Needless to say, Reddit was outraged. Partially because they love creepy shit, partially because they are of the mindset that unfettered free speech is an unassailable ideal in every single case, and that to censor anything will mean the death of a free society, and partially because they have an aversion to the concept of “doxxing,” or posting the personal information of anonymous posters.

I’m not going to talk about Reddit loving creepy shit, because SRS does a fine job of that. Instead, I’ll talk about the free speech/doxxing issue.

1) On free speech: Reddit is not the government. I’m completely behind the concept of free speech when it pertains to laws and government intervention. I’m not at all behind it when it comes to private spaces moderating what speech is acceptable. You are free to post whatever horrible racist drivel you want on the Internet. You are not free to post it on my website. Reddit moderating objectively terrible content like CreepShots is not a violation of free speech in any way, regardless of the legality of creepy pictures.

2) On doxxing: there’s a hilarious double-standard for the Reddit hivemind here. Reddit defends CreepShots in the name of “free speech”, and yet, is completely unwilling to do so for doxxing. Newsflash — doxxing is legal and morally ambiguous in the same way CreepShots is. If you’re defending CreepShots in the name of “it’s legal speech,” you have no ground to object to doxxing. Absolutely none.

All of this leads to an interesting idea: what if there was no anonymity on the Internet?

A radical idea, I know, though I’m hardly the first one to think about it. One of my college professors (Computer Science, natch) advocated this approach, and at the time, I had a knee-jerk reaction against it. But if you think about it a bit further, there are some benefits. For one, no more doxxing. If everything you post on the Internet has your real name right there for everyone to see, the worry that someone’s going to out you, well … disappears. In addition, some (not nearly all, unfortunately) of the consequence-free marginalizing blather will dry up as well. John Q. Smith is going to be a lot less willing to post a creepy picture of a woman’s ass without her knowledge when an employer searching for “John Q. Smith” will bring up John’s creepiness.

Downsides? Of course. It fucking sucks that the Internet has the mindset of “default = straight white male,” and stepping outside of that opens you up to attacks. Many people choose not to fight against this, and refrain from identifying themselves as a woman, or gay, or transgender, to protect themselves. I totally understand. A non-anonymous Internet would take that strategy away from marginalized peoples, which I’m not totally comfortable doing. On the other hand, it’s quite possible that the default assumption might disappear once the diversity of people on the Internet is made more clear.

There’s also a host of smaller issues. It becomes a lot more difficult to do anything of questionable legality online, which is sort of … good and bad. While I’m not really an advocate of piracy, I don’t relish the idea of the RIAA having full access to torrent logs and the ability to match IP addresses to names. And I don’t like the idea of being outed for your interest in fully legal, fully consensual furry pony porn.

But there needs to be some sort of solution. The idea that the Internet should be a consequence-free zone for the worst sorts of behavior going into the future is not acceptable to me. And while I know that to Reddit and 4Chan, this unrestrained nature is the very key to the Internet, but I simply don’t see that as sustainable. When these doxxing and counter-doxxing and triple-reverse-revenge-doxxing start to happen everyday, I think we’ll see a lot of people naturally move from the “what happens on the Internet doesn’t count” model. The best course of action is likely for the Internet to remain anonymous, but for the vast majority of people to pretend like it isn’t.

What do y’all think? Do the benefits of an anonymous Internet outweigh the use of anonymity as a shield for deplorable actions?