Right-wing extremism and Twitter

Something I wrote on Mastodon.

Twitter is a lesson in the structural imbalances that fuel society. We put our passion into a product that was, at best, compromised from the start. The form created, fed, and thrived on base impulses. The wider the circle we drew, the more adversarial it became, the harder we fought to hold our ground. That’s a way of seeing, of being in the world, that is antithetical to wellbeing. Twitter has always been toxic, abusive. Only now are we seeing its truth.



Licorice Pizza (2021)

Paul Thomas Anderson captures the feral exuberance of the early seventies, as the precocious 15-year-old child actor, and natural hustler, Gary Valentine (Cooper Hoffman) pursues the 25-year-old Alana Kane (Alana Haim), “the woman he’s going to marry”.

Inspired by the life of Anderson’s friend Gary Goetzman, the story bubbles up rather than unfolding. It’s joyous in many ways, full with the kind of optimism none of us can feel anymore.


JavaScript sketch: Four by Four #01

Four by Four: Coloured circles rotating clockwise

I’ve been teaching myself javascript. Here’s one of my sketches. I’m reluctant to call it code art or generative art this early in the game. But there’s a definite charm to making the code do what you want. Not as easy as many would have you believe. There’s also something in the sheer number of iterations possible, once the code is written. Here is one of many in an expanding series I call “The Beguiling Beauty of Endless Motion”.

Les affamés aka Ravenous (2017)

As infection sweeps Canada, and probably the rest of the world, the population of a verdant northern Quebec are turning into violent screeching cannibals.

A handful of survivors escape into the woods looking for a place to hide, for refuge. What more do you need to know?

A deliberately understated film, the way Drive (2011) is understated. So when something happens, when thing escalate, get grizzly, violent, it really packs a punch.

I liked it.

Luckiest Girl Alive (2022)

An outwardly successful woman battles inner demons, as the traumas of her youth haunts her adult life.

Told in a mix of flashbacks and painfully self-aware voice-over, past and present chafe, as writer Jessica Knoll (Mila Kunis) unpicks an intricate web of behaviours caused by her traumas.

Smart enough to feign being one thing, while being something completely different.


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