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Review: I Was at Home, But… Pushes Narrative to an Elliptical Breaking Point
Angela Schanalec's film configures itself most potently in hindsight as a punch to the gut.3
Writer-director Angela Schanelec's I Was at Home, But…, in the spirit of Yasujiro Ozu's I Was Born, But…, is technically a domestic drama—albeit one that takes its time revealing the nature of the fractured family at its center and frequently departs from their home. As in her prior feature, 2016's The Dreamed Path, the German filmmaker has taken a fairly simple premise and built a multilayered series of narrative threads around it, one filled with the detours and inconsistencies of life as it's experienced on a day-to-day basis. In doing so, Schanelec isn't complicating or overthinking the familiar, but, rather, inviting her audience to rethink how these seemingly universal narratives function.
Grief is the unifying thread of I Was at Home, But…, though Schanalec gives us the lingering air of despondency well before identifying its source. In the first of many sudden, unexplained spasms of emotion in the film, a woman sprints through a courtyard and up a flight of stairs to embrace a boy being held in some kind of child services office—a scene cut into precise visual fragments by Schanalec's stiffly choreographed style. After being offered many a context clue, we come to understand that this woman, Astrid (Maren Eggert), is the mother of this child, Phillip (Jakob Lassalle), who's earlier seen emerging from the woods at dawn, his dirtied yellow jacket and look of stone-faced torpor indicating a prolonged absence from his mother's life. Phillip has a little sister, Flo (Clara Möller), who observes this zombified return, and together the three of them occupy a white-walled, high-ceilinged modern apartment in a gentrified part of Berlin, a home reverberating with the aftershock of a recently deceased patriarch.
These are the concrete details of the film's scenario, but before they all have a chance to register, Schanalec offers a number of puzzling diversions: a scene of a dog hunting a rabbit before falling asleep in a barn alongside a donkey; a grade-school rehearsal of Hamlet, performed in an affectless, Straub-Huillet-evoking manner from a version of the play translated by Schanalec's late husband, Jürgen Gosch; and an episode of Astrid purchasing a secondhand bicycle from a man (Alan Williams) who talks through a voice box. Each of these threads recur throughout the film, with the latter in particular amounting to something of a comically elongated red herring as the bike proves faulty and Astrid hassles the man for her money back—all of which can only be said to circuitously tie into Astrid's emotional arc. Even less logically related to the film's apparent central narrative is another subplot concerning the deteriorating relationship between Lars (Franz Rogowski), a teacher overseeing Phillip's reintegration into school, and the man's girlfriend, Claudia (Lilith Stangenberg).
The manner in which these various threads weave in and out of the scenes sketching the family relationship, commanding equal attention in the way Schanalec, working as her own editor, partitions screen time, makes it tough to call anything the "primary" focus of the film. Throughout I Was at Home, But…, its destabilizing ellipses and odd points of emphasis—a scene of Astrid at a supermarket, for instance, focuses only on her dog as it diligently waits outside with the shopping carts—discourage the viewer from fixating on anything beyond the present moment and its complexity, so that any natural impulse to chart the narrative's larger trajectory or the psychological development of the characters is frustrated.
Fortunately, Schanalec's staging is rarely less than compelling. Never as grandiose with her deep-focus master shots as Ruben Östlund, the filmmaker nonetheless shares with the Swedish auteur a preference for subtly off-kilter compositions, chilly soft light, and slick modern architecture, while her exacting use of sound—punctiliously ADR'd and selective—is what most closely aligns her with her frequently cited forebear: Robert Bresson.
This stark cinematic language, combined with a severe acting style in which even a dry cleaner's assessment that a coat might not wash properly is spoken like a terminal diagnosis, makes I Was at Home, But… a decidedly austere affair. But this is less a pose of artistic seriousness on Schanelec's part than a strategic leveling of affect to make key moments register with the sharpness of real-life trauma. In the film's most harrowing scene, Eggert unleashes a torrent of Method naturalism as her character violently recoils from the unwanted attention and embraces of her despondent children, whose company she's gradually replacing with a tennis-playing boyfriend, Harald (Thorbjörn Björnsson). Later, Schanelec grants Astrid redemption in the heartbreakingly tender image of the woman holding Flo in an empty locker room after a swim practice, their damp bodies intermingled as one.
Similarly ameliorating the film's air of formal severity is its subterranean sense of playfulness, which casually reveals itself in the background of frames, the silent pockets of conversation, and the latter halves of Schanelec's long takes. Whether sliding a pair of student fencers into a frame as a somber conversation plays out in the foreground or observing as an already-malfunctioning bicycle topples over its flimsy kickstand, Schanalec periodically indulges a kind of drawn-out physical comedy, though it's a dialectical joke in the film's centerpiece that seems to have been most carefully engineered. In an extended tracking shot, as Astrid walks alongside a filmmaker (All the Cities in the North director Dane Komljen) and berates him over what she interprets as his film's ethical malpractice of casting actors alongside real hospital patients, it becomes clear that she's displacing her own pain about her husband and son, who's troubled by a case of sepsis brought on by his disappearance. But the irony is that her withering critique of acting as a false façade arises in one of the film's more commanding instances of capital-A acting. The scene closes with the nearest Schanalec gets to writing a howler: "Unbearably bad cinema," she says, "but I still hope you get the professorship."
The film is at its best in such instances, when Schanalec's insight into trauma as a menace that asserts itself at inopportune and confusing moments is powerfully dramatized. It's less successful when reaching for symbolic associations, as in the strikingly staged but inert passages of Shakespearean recitation that draw out connections between Hamlet and Astrid's life, or in the strained, bookending bits of business involving the dog and the donkey. For her part, Schanalec has preached in interviews that an experiential, non-intellectual approach to watching her films is ideal, so it's telling that, in spite of its occasional academicism, I Was at Home, But… configures itself most potently in hindsight as a punch to the gut.
Cast: Maren Eggert, Jakob Lassalle, Clara Möller, Lilith Stangenberg, Franz Rogowski, Thorbjörn Björnsson, Lucas Confurius, Wolfgang Michael Director: Angela Schanalec Screenwriter: Angela Schanalec Distributor: Cinema Guild Running Time: 105 min Rating: NR Year: 2019
Oscar 2020 Winner Predictions: Documentary Short
Bet against a message of hope and you may find yourself losing an Oscar pool.
Our track record here is spotty, but we're on a roll, having correctly guessed the winner three years in a row. Just as every film up for the documentary feature prize grapples with the nature of freedom in a world gripped by war, every one nominated for best documentary short concerns the aftermath of trauma. And this category's history tells us that academy members are quite keen on a certain angle on the process of coping with trauma, which is implicit even in the titles of the films that won here but whose chances we underestimated, such as Mighty Times: The Children's March and A Note of Triumph.
There isn't a single dud in this bunch, but a few feel only half-formed. Smriti Mundhra and Sami Khan's St. Louis Superman, which earned MTV its first Oscar nod, concerns Ferguson activist and battle rapper Bruce Franks Jr. and his efforts to pass a bill recognizing youth violence as a public health crisis after being sworn into the Missouri House of Representatives. A powerful sequence set during a rap battle gives us a complete picture of how the trauma of his younger brother's death—and, simply, living while black—has come to shape Franks's politics, but if the short successfully attests to his accomplishments against all odds, it remains conspicuously tight-lipped about his home life and has a final title credits sequence tell us about his future in government that we wished it had actually processed on screen.
John Haptas and Kristine Samuelson's gripping Life Overtakes Me, the only short in this category with Netflix's muscle behind it, feels as if it could benefit from simply reporting on a relatively unknown matter: the dissociative condition known as resignation syndrome, a response to the trauma of refugee limbo that has been predominantly observed in children from the Balkans now living in Sweden with their families. The filmmakers vigilantly depict the day-to-day routines of parents struggling to feed their comatose children and keep their limbs as lithe as possible. But the short doesn't offer enough context about the struggles that brought these families to Sweden and, like St. Louis Superman, it has one read a little too much between the lines, sometimes literally so, as information relating to the asylum process and evolving opinions about resignation syndrome is largely conveyed via on-screen text.
Yi Seung-jun and Gary Byung-seok Kam's In the Absence plays out like a ghost story, and it's much less withholding than both St. Louis Superman and Life Overtakes Me. Concerning the 2014 MV Sewol ferry disaster in South Korea, this hauntingly cool-headed short doesn't lack for astonishing footage of the incident, some of it pulled from the phones of those who were aboard the ship; the shots of the protests that followed the incident, as well as the talking-head interviews from the families of the deceased, are no less harrowing. The filmmakers are ferocious in their condemnation of the various failures of communication that led to the deaths of hundreds aboard the ship, and one deserved target of their contempt is South Korea's former president, Park Geun-hye. Still, if we have any reservations about our favorite short in this category, it's over the way it risks leaving some with the impression that the Sewol disaster was largely responsible for the disgraced politico's downfall.
Now, for those who couldn't read between the lines of this post's first paragraph: Bet against a message of hope, as we did in the past when we didn't rally behind Music by Prudence and Strangers No More, and you may find yourself losing an Oscar pool. As such, In the Absence faces stiff competition from Laura Nix and Colette Sandstedt's touching but somewhat featherweight Walk Run Cha-Cha, about a young man and woman who, 40 years after being separated during the Vietnam War, and especially Carol Dysinger and Elena Andreicheva's Learning to Skate in a Warzone (If You're a Girl), which, spite of its cloying score, chronicles a resistance in a language that will be impossible for most to resist.
Learning to Skate in a Warzone tells the story of a school in Kabul that teaches young girls to skateboard and, by extension, take on the patriarchy. "I don't want to grow up so I can skate forever," one girl says at one point. Hopeful words, yes, but we can see their melancholic roots. The filmmakers may not have bombard us with images of violence, but you don't walk away from this short without understanding the risk of simply seeing that girl's face speaking those words, in a country where so many girls are destined to become prisoners in their own homes, and are more prone than boys to be the victims of terrorism.
Will Win: Learning to Skate in a Warzone (If You're a Girl)
Could Win: In the Absence
Should Win: In the Absence
Oscar 2020 Winner Predictions: Live Action Short
It never hurts to let this academy feel as though they're just liberal enough.
If last year's slate in this category reflected, as Ed pointed out, children in peril as the "fetish du jour" for the academy's shorts committee, the trend certainly didn't carry over into this year, with only one nominated film dealing with such subject matter. That said, it's characteristic of this particular category's history in that it's among the most galling, sermonizing screeds nominated for any Academy Award this year.
Unlike such previously slated diatribes as That Wasn't Me or One Day, however, Bryan Buckley's Saria is explicitly a recreation of a real-life tragedy, a 2017 fire that killed 41 girls in a Guatemalan orphanage, potentially sparked by one of the girls in an act of political protest against their gorgonesque caretakers. That the entire episode touches on just about everything wrong with the world today means it can't be fully counted out. But it'd be a lot easier to get in the filmmakers' corner if it didn't so strongly feel as though they turned the slow-crawling death toll into a bizarre sort of victory lap in the final credits reel. And Oscar voters haven't been too tacit lately about their aversion of tough messages being shoved down their throats.
Among other nominees with seemingly very little chance at winning, Delphine Girard's A Sister gave us major déjà vu, and not only from its narrative echoes of recent short Oscar winners The Phone Call and Crisis Hotline: Veterans Press 1. A well-made exercise in escalating alarm in miniature, this Belgian thriller centers around an emergency operator (Veerle Baetens) who quickly and professionally ascertains the coded cry for help from a caller (Selma Alaoui) being held hostage in the car of a dangerously irrational man (Guillaume Duhesme). Confidently but abstractly directed, the film joins a very long line of Eurocentric thrillers about domestic violence nominated in this category, including Miracle Fish, Just Before Losing Everything, Everything Will Be Okay, and DeKalb Elementary. And if these sorts of films always seem to get nominated, they also never win.
So what does? At this point, this category has a long-ish history of rewarding candidates that are either the only English-language nominee, the most hipster-friendly ironic in nature, or both (Stutterer and Curfew, to name two examples of having those bases covered). This year that sets up a battle between Yves Piat's Nefta Football Club and Marshall Curry's The Neighbor's Window. The former has all the makings of a winner for most of its running time. In it, a pair of brothers (Eltayef Dhaoui and Mohamed Ali Ayari) in Tunisia find a drug mule—an actual mule, that is—wandering around because the pink headphones his handlers (Lyès Salem and Hichem Mesbah) placed on him are playing not Adele's "Someone Like You," which would cue the trained animal to return home, but Cheik Hadel. One of the two boys recognizes the mule's stash for what it is, but the other one presumes it's laundry detergent, rubbing enough on his tongue that he really should spend the rest of the short tripping balls. The EC Comics-reminiscent twist ensures that the short is never less than glibly cavalier toward geopolitical readings but also comes off like a damp squib compared to the declarative setup.
Similarly anecdotal, The Neighbor's Window is a schematic empathy fable in Rear Window drag about a ennui-ridden, middle-aged mother (Maria Dizzia) of three captivated by the twentysomething couple (Juliana Canfield and Bret Lada) living in the building across the way. While the short's milieu offers every opportunity to lean right into the brand of snarky irony that this category favors—the woman's voyeurism is kicked off when she and her husband (Greg Keller) spy on the younger couple fucking in full view of the rest of the neighborhood—the film remains almost doggedly like a "we all want what we cannot have" teleplay updated for Gen Xers. Still, in that it validates the struggles of the world's haves, it's very much in play.
But we're tempting fate and picking Meryam Joobeur's Brotherhood as the spoiler. It centers around a Tunisian patriarch (Mohamed Grayaâ) whose oldest son (Malek Mechergui) comes back after years spent in Syria, with a new wife (Salha Nasraoui) whose face-hiding niqāb all but confirms the father's suspicion that the son has been recruited by ISIS. It's a minor miracle that the film doesn't come off as one big finger wag, in part because it comes at the whole "world is going to hell in a handbasket" angle by highlighting mankind's universal failure to communicate. Equally miraculous is that its shock finale doesn't resonate as a hectoring "gotcha," but instead as a proper outgrowth of its reactionary main character's failure to live up to his own, presumably, liberal identification. Post-Green Book, it never hurts to let this academy feel as though, unlike Brotherhood's doomed father, they're just liberal enough.
Will Win: Brotherhood
Could Win: The Neighbor's Window
Should Win: Brotherhood
Review: The Turning's Horror Elements Add Up More to Insult Than Ambiguity
It casts its source as a delusional fantasy through which to enact the effects of possible traumas that go completely unexplored.1.5
The cultivation of ambiguity has long been integral to the successful horror narrative. The oppressiveness of our fears is always somehow diminished following the explication of their source, and nowhere is this more true than in the subgenre of psychological horror, reliant as these stories are on our ability to trust the perspective of a particular protagonist. We see the world only through their eyes, and therefore we must decide what to believe is true about what has otherwise been presented to us as reality.
Henry James's 1898 novella "The Turn of the Screw," previously adapted in 1961 by Jack Clayton as The Innocents and revisited now by Floria Sigismondi as The Turning, is a ghost story that revels in a sense of doubt on behalf of its audience. The novella tells the story of a young and inexperienced governess called upon to care for two children named Flora and Miles, following the death of their parents, in a sprawling mansion called Bly that may or may not be haunted. This is a straightforward premise that offers sinister delights because of our bearing witness to its narrator's slippage—either into delusion, or into a world where the dead actually walk among us as spectral presences aiming to possess the innocent.
The Turning's camera often tracks and frames its subjects in purposeful, often striking shots that manage to convey the bigness and intricacy of Bly without sacrificing intimacy with the characters. And the production design is steeped firmly in the tradition of haunted house films, every room and mantelpiece creepily cluttered with dolls and mannequins, gothic mirrors in every corner threatening to expose unseen inhabitants of dark and dusty rooms. The walls along Bly's claustrophobic and seemingly endless hallways close in on the governess, Kate (Mackenzie Davis), like a vice. Sigismondi brings to the screen a lush and stylish perspective to her material, an attention to detail cultivated in her photography and music video work. And as Flora and Miles, the haunted children who Kate has come to educate and oversee, Brooklynn Prince and Finn Wolfhard deliver sophisticated performances that delicately suggest the inner turmoil of children who have been faced too soon with death.
There's a pivotal moment around the middle of The Turning where Kate receives a package containing a sheaf of menacing paintings created by her mentally ill mother (Joely Richardson), delivered from the hospital where Kate visited her before leaving for her new post at Bly. The mansion's stern housekeeper, Mrs. Grose (Barbara Marten), already skeptical of Kate's merits, has clearly rifled through the artwork and taken note of its sender. Before leaving Kate to examine the paintings alone, Mrs. Grose archly raises aloud the question of whether Kate might have inherited any of her mother's supposed madness, and this kernel of suspicion regarding the veracity of Kate's observations about the house and its inhabitants unfortunately serves as conspicuous foreshadowing to the film's careless conclusion.
In her book of essays The Collected Schizophrenias, which lays bare the experience of mental illness and the various stigmas associated with its diagnosis in contemporary culture, Esmé Weijun Wang writes, "Schizophrenia and its ilk are not seen by society as conditions that coexist with the potential for being high-functioning, and are therefore terrifying." And it's no wonder that the horror genre has plumbed the narrative possibilities of instability so completely, presenting countless protagonists over the years whose relative grip on reality provides a story with necessary tension. But the best of these examples use the destabilization provided by a possibly mentally ill character to make broader connections, speaking often, for example, to the subjugation of women in a patriarchal society, such as with the "madwoman in the attic" trope explored by Charlotte Perkins Gilman in "The Yellow Wallpaper."
Here, though, without any evidence aside from genetics to suggest the possibility of Kate's cognitive disintegration, The Turning casts its source narrative—the psychosexual haunting of the house by a deceased former governess and valet who had once watched over the children—as a delusional fantasy through which to enact the effects of possible traumas that go completely unexplored. The film's abrupt ending succeeds only at undercutting and cheapening everything that came before, dressing a vague yet potentially resonant paranoia about sexual violence and male predation as a simple case of undiagnosed mental illness, with no hint at all of the origins of these particular points of stress in its protagonist's psyche. This kind of ambiguity—not about whether or not Kate has gone mad, but rather about why it actually matters—is a cop out rather than a display of control.
Cast: Mackenzie Davis, Finn Wolfhard, Brooklynn Prince, Barbara Marten Director: Floria Sigismondi Screenwriter: Chad Hayes, Carey W. Hayes Distributor: Universal Pictures Running Time: 93 min Rating: PG-13 Year: 2020
Oscar 2020 Winner Predictions: Animated Short
Another year, another reminder to take our prediction in this category with a grain of salt.
Another year, another reminder to take our prediction in this category with a grain of salt. Since 2002, when we first started predicting the Oscar winners, we've guessed correctly in this category only eight times, and five of those were in the aughts, when one or more Disney shorts consistently lost to considerably more outré productions. It was a long dry spell for the studio between For the Birds taking the prize in 2002 and Paperman doing so in 2012. Disney now perseveres more times than not, which is why we're given pause by the fact that, even though this is only the third time since 2002 that the studio doesn't have a film in the lineup, two nominees here could be described as "Disney-adjacent."
One of those, Matthew A. Cherry and Karen Rupert Toliver's charming and poignant Hair Love, had us busting out the hashtags (#OscarsSoWhite, #EverythingIsSoWhite, #WhiteWhiteWhiteIsTheColorOfOurCarpet), wondering if the guilt that AMPAS has about its diversity problems may be a victory-securing source of momentum. That Issa Rae, who saltily congratulated the men in the best director category when she announced this year's Oscar nominees alongside John Cho, provides the voice for this short about a black father who learns to style his daughter's hair in the absence of the girl's mother feels as if it can only help.
At the same time, each day since the Oscar nominations were announced last week seems to bring one of those dreaded articles in which some anonymous academy member is asked about their picks ahead of deadline, and Michael Musto's recent chat with one such voter has us convinced more than ever that guilt isn't the average academy member's chief motivator. Besides, Hair Love faces stiff competition from another Disney-ish, hit-'em-in-the-feels candidate, Kitbull, which concerns the unlikely kinship that forms between a cat and a dog. It certainly tugged at our heartstrings, and in spite of the short's bug-eyed cat at times alternately, and distractingly, reminding us of a mouse and an inkblot.
Perhaps inevitably, we found ourselves drawn to the more outré nominees. Siqi Song's beautifully textured Sister doesn't lack for memorable images, but my favorite is the one where the brother at the center of the short pulls on his giant baby sister's outie-cum-Silly-String-umbilical-cord until the child shrinks down to size. This is an at once idiosyncratic and somber meditation on China's one-child policy, but it left one of us wondering, in the wake of Nanfu Wang and Jialing Zhang's One Child Nation being snubbed this year by the academy, if it would resonate with enough voters, and two of us certain that a sizeable portion of the academy's more liberal members would take more than just the "I had fingerprints four weeks after conception" bit as something akin to a big pro-life billboard.
Remember this old Sesame Street bit? Eric sure did while watching Daughter, a striking rumination about the emotional distance between a father and daughter. Daria Kashcheeva's expressionistic use of stop motion is haunting, even if the short, amid so much abstraction, doesn't always evoke believable people. More approachable is Memorable, where the very nature of what can be believed and remembered is the governing principle. All the way until its stunning finale, Bruno Collet and Jean-François Le Corre's confluence of styles (there are shades here of the "psychorealism" that won Chris Landreth an Oscar in 2005 for Ryan) is in profound conversation with the idea of dementia as a destructuring agent. We're no strangers to wrongly betting on our favorite short persevering on Oscar night, but Disney consistently loses in years where it has more than one film gunning for this award, so we're betting that the two Disney-ish shorts will split the vote and pave the way for a Memorable victory.
Will Win: Memorable
Could Win: Hair Love
Should Win: Memorable
Review: The Last Full Measure Trades Institutional Critique for Hero Worship
The film largely evades any perspectives that might question the institutions that put our soldiers in harm's way.1.5
Speaking about the time when Air Force pararescue medic William "Pits" Pitsenbarger descended from a helicopter to aid wounded soldiers trapped in an ambush during the Battle of Xa Cam My, a former soldier, Kepper (John Savage), says, "I thought I saw an angel. There he was right in front of me, all clean and pressed." Pits's courageous actions during one of the Vietnam War's bloodiest battles, where he saved nearly 60 lives and perished after refusing to board the last chopper out of the area so he could continue helping out on the ground, are certainly deserving of the Medal of Honor that he was denied for over 30 years. But writer-director Todd Robinson's hagiographic The Last Full Measure is frustratingly limited in its scope, stubbornly fixating on the heroism of one man and the grateful yet tortured men he saved while largely evading any perspectives that might question the institutions that needlessly put those soldiers in harm's way in the first place.
Following Scott Huffman (Sebastian Stan), an up-and-coming Pentagon staffer assigned to investigate a Congressional Medal of Honor request for Pits three decades after his death, The Last Full Measure takes on the point of view of an indifferent outsider who doesn't understand the value of awarding a posthumous medal. Unsurprisingly, as Scott travels the country to meet with several of the soldiers whose lives Pits saved, he slowly comes to revere the man and the lasting impact of his actions. In the roles of these wounded survivors, Ed Harris, William Hurt, Samuel L. Jackson, and Peter Fonda each offer glimpses at the feelings of guilt and mental anguish that continue to haunt the men. Yet before we can get a hold of just what eats away at the former soldiers, and what living with their pain is really like, Robinson repeatedly whisks us via flashback to a dreadfully familiar-looking scene of combat, attempting to uplift the spirits with scene after scene of Pits (Jeremy Irvine) saving various men, all with the cool-headedness and unflappable bravery one expects from an action movie hero.
Throughout numerous walk-and-talk scenes set inside the Pentagon, The Last Full Measure manages to convey some of the countless bureaucratic hoops that must be jumped through to get a Medal of Honor request approved. But the murky subplot involving Scott's boss, Carlton Stanton (Bradley Whitford), and a supposed cover-up of Operation Abilene, the mission that led to the ambush in the village of Cam My, does nothing but pin the blame for all wrongdoing on a mid-level Pentagon director. And even in that, the film's only qualms are with a cover-up that prevented Pits from being properly recognized, with no thought whatsoever given to the disastrous wartime decisions that were also being hidden from the public.
In the end, Robinson's portrayal of a scheming Washington insider suppressing the actions of an infallible, almost angelic fallen soldier lends the film a naively simplistic morality. By fixating on the good that came out of a horrifying situation, and painting institutional corruption as a case of one bad apple, The Last Full Measure practically lets the state off the hook, all the while mindlessly promoting nationalistic ideals of unquestioned duty and honor.
Cast: Sebastian Stan, Christopher Plummer, Samuel L. Jackson, Bradley Whitford, Ed Harris, Diane Ladd, Jeremy Irvine, Michael Imperioli, Alison Sudal, Peter Fonda, William Hurt Director: Todd Robinson Screenwriter: Todd Robinson Distributor: Roadside Attractions Running Time: 115 min Rating: R Year: 2019
Oscar 2020 Winner Predictions: Sound Editing
It's not difficult to rationalize picking the same film to win both sound editing and sound mixing.
The movement to merge the two Oscar categories for sound into just one is finally picking up some steam after an academy subcommittee favored consolidation in December, but we regret to inform you that the exceptionally rational decision hasn't yet been ratified, and thus won't spare us one more year of double-feature kvetching. While the nominating members of the sound branch might know the exact difference between sound mixing and sound editing, and while compulsory Oscar blogging has forced us to know the exact difference as well, numerous academy members clearly don't.
Case in point: Last year they awarded Bohemian Rhapsody its expected award in sound mixing, where musicals always have an advantage, but also an upset win in sound editing. Unless voters metabolized Singer's violent blitzkrieg of a film and simply misremembered hearing explosions throughout, that's not the vote of an informed electorate.
From our perspective as prognosticators, though, it's not difficult to rationalize picking the same film to win both awards, especially in the absence of a musical. While there have been plenty of years we've carbon-copied our predicted winner in both categories only to see them split (even three ways, as in 2012, when Les Misérables took sound mixing, and Skyfall and Zero Dark Thirty tied for sound editing), getting one prediction right is better than getting none at all, especially in a year like this where, to judge from both slates, sound equals fury.
One thing's fairly certain: You can probably go ahead and count out Star Wars: The Rise of Skywalker. The new trilogy failed to add any more Oscar wins to the franchise, and, in fact, a Star Wars film has never won a competitive award for sound editing. Episodes seven and eight lost to, respectively, a chase movie and a war movie, and this year's top two contenders here are arguably the exact same pairing. While 1917 is still considered by many to be a frontrunner for best picture, we're pretty sure the onslaught of vintage motors roaring for the climactic quarter-hour of Ford v. Ferrari will get voters right in the dad spot.
Will Win: Ford v. Ferrari
Could Win: 1917
Should Win: Ford v. Ferrari
Review: Guns of the Trees Wears Its Looseness as a Badge of Honor
The film is but one deliberately imperfect piece of a vast slipstream.2.5
Jonas Mekas establishes the tone of 1961's Guns of the Trees with a director's statement, declaring that the "mad heart of the insane world" has prevented him from finishing the film. What follows, Mekas asserts, is "a sketchbook," a "madhouse sutra," "a cry." And such a description aptly articulates the film's melodramatic, self-pitying sense of yearning, which is driven by Mekas's career-spanning need to contexualize the divide of artifice that separates artist from audience. To Mekas, sketch-like scenes represent a refutation of staid, insidious craftsmanship that can smooth out rougher and more resonant contours.
In the case of the quasi-fictional Guns of the Trees, Mekas follows a handful of young people in New York City as they hang out and grapple with the state of modern existence, decrying America's involvement in Cuba, the development of the atom bomb, and various other atrocities that underscore the awfulness of the imperial machine. Occasionally, Allen Ginsberg reads his poetry over the soundtrack, his scalding free-associational verse conjuring an anger that the film's characters can't quite articulate, while providing Guns of the Trees with another element of the literary. A little of Ginsberg's poetry goes a long way. What is the "hunger of the cannibal abstract" and why can't man endure it for long?
Ginsberg's bebop phrasing complements Mekas's fragmentary images, which are alternately ludicrous and lovely. In keeping with the sketchbook concept, the film wears its unevenness and looseness as aesthetic badges of honor. A framing device in which two businessmen in white mime makeup wander a cabbage patch in near hysteria, in all likelihood embodying the ageless corruption of man, is self-consciously oblique and edgy, feeling like an earnest film student's pastiche of 1920s-era avant-garde tropes. Other scenes, however, poignantly detail life in the early '60s, such as when a woman sits her husband down in a chair in their loft and cuts his hair, or when a man tries to talk his drinking buddy down from an intoxicated rant. These scenes have the humor and behavioral specificity of John Cassasvetes's films, evoking the comforting rhythm of the little moments that come to define us.
Guns of the Trees belongs to an easily mocked beatnik era, when people discussed whether to conform or be free while listening to folk music and reading Ginsberg and smoking grass. At times, even Mekas seems to be on the verge of ribbing his subjects' sincerity. For all their thrashing about, these people seem prosperous and more interested in speaking of revolution than in truly sparking it. Ben (Ben Carruthers) sells life insurance, prompting the film's funniest line, when a potential client asks, "Don't you still believe in death?" A young woman named Barbara (Frances Stillman) is gripped by authentic depression though, and her suicide haunts Ben, Gregory (Adolphus Mekas), and Ben's wife, Argus (Argus Spear Julliard).
If the beatnik navel-gazing dates Guns of the Trees, Mekas's docudramatic eye memorably revels in poetic details throughout. His protagonists wander through fields, which suggest the rice fields of Vietnam, and junkyards that testify both to the beauty and the waste of mainstream society. The play of light off the twisted metal of the trashed cars suggests found sculpture, while indirectly conjuring the wreckage wrought by the wars the characters protest. Such images, which include profoundly intimate close-ups of the characters' faces, also anticipate the rapture offered by future Mekas "sketchbook" films such as Walden.
Mekas would go on to pare away the preachiness of Guns of the Trees from his subsequent work, as he increasingly honed a personal style that would make ecstasy out of the commonplace, utilizing multimedia and a restless syntax to suggest how memory intricately shapes life. Guns of the Trees is but one deliberately imperfect piece of a vast slipstream.
Cast: Adolfas Mekas, Frances Stillman, Ben Carruthers, Argus Spear Juillard, Frank Kuenstler, Louis Brigante Director: Jonas Mekas Screenwriter: Jonas Mekas Running Time: 86 min Rating: NR Year: 1961
Oscar 2020 Winner Predictions: Animated Feature
Forky rules.
Completist-prone Oscar prognosticators were dealt a merciful hand last week when the Oscar nominations were announced and Frozen II didn't show up in this category. But the winning hand belongs to Toy Story 4, which likely lost the Golden Globe to Missing Link as a result of a vote split between the two Disney properties. Sentiment to reward the American-based production studio Laika is brewing, and the fitfully droll Missing Link will, like Kubo and the Two Strings before it, probably find favor at the BAFTAs, but Laika's latest and most expensive production to date dramatically bombed at the box office. And while no one will be weighing between the film and I Lost My Body, a singularly and actively morose and creepy film that won't appeal to the academy at large, this category's short history tells us that the Mouse House is only vulnerable to the biggest money makers. Also, Forky rules.
Will Win: Toy Story 4
Could Win: Missing Link
Should Win: I Lost My Body
Oscar 2020 Winner Predictions: Supporting Actor
Pitt winning here will seem like the stars are lining up given what went down when he was first nominated in 1995.
We didn't predict Anthony Hopkins to get nominated here, thinking that the Golden Globes's enthusiasm for The Two Popes was a fluke. We were wrong, and he ended up becoming the elder statesman in an acting lineup that contains, on average, by far the oldest nominees. The person we predicted to get in instead, Marriage Story's Alan Alda, is a year older than Hopkins, so we certainly weren't betting the farm on any male ingénues.
On the other hand, it sure feels like spry 56-year-old Brad Pitt, who opened his acceptance speech at last night's SAG Awards with a joke about having a Tinder profile, had this award in the bag the moment his Marlboro Man-ish handyman hopped atop his buddy's roof to fix the antenna in Once Upon a Time… in Hollywood, whipping off his shirt to reveal a tawny, fully-abbed torso that scarcely seems to have aged in the nearly 30 years since he seduced the country in Thelma & Louise. He, as Leonardo DiCaprio's co-lead, has a lot more to do throughout than just doff tees, but the "I'm still here" virility of that moment embodies the entire film's love letter to old-guard masculinity in Tinseltown.
Not that anyone's reading too deeply into it, not when there's good old-fashioned awards numerology to fall back on. Within minutes of the nominations being announced, Oscar Twitter jumped on the fact that the best supporting actor slate this year is composed of acting winners from 1990 (Joe Pesci), 1991 (Anthony Hopkins), 1992 (Al Pacino), and 1993 and 1994 (Tom Hanks). Fewer pointed out that Pitt was also a nominee in 1995 for 12 Monkeys, losing out to the now-canceled Kevin Spacey. Which makes it seem all the more poetically like the stars are lining up when Pitt wins for a film whose finale proposes a rousing bit of alternate, corrective history in which the "good" guys obliterate the "bad" ones.
Will Win: Brad Pitt, Once Upon a Time… in Hollywood
Could Win: Joe Pesci, The Irishman
Should Win: Tom Hanks, A Beautiful Day in the Neighborhood
Oscar 2020 Winner Predictions: Documentary Feature
Every film nominated in this category grapples with the nature of freedom in a world gripped by war and shaped by technology.
Few Oscar categories are bigger snub magnets than this one. And while the failure of Apollo 11 to secure a nomination this year was indeed surprising, it was not as telling as the omission of The Biggest Little Farm, a handsomely, if conspicuously, sculpted "pop" documentary that's very much in the academy's wheelhouse. It was almost as if the committee responsible for selecting the nominees here was sending a message by embracing, at a time of increased global instability, five documentaries that looked only outward: not at mankind's possibilities, but at the ways in which we've become our own worst enemy.
When discussing the potential winner in this category, Eric and I were pulled in two different directions. "Doc will go American Factory and, by extension, the Obamas, right?" Eric asked. "Honeyland notched an Oscar record by being the first documentary to also be nominated for international feature. That has to mean something?" I asked. Which is to say that he and I, no strangers to this Oscar-predicting process, were sacrificing ourselves to rigamarole, forgetting that, at the end of the day, academy members vote with their hearts above all else.
Every film nominated in this category grapples with the nature of freedom in a world gripped by war and shaped by technology. American Factory specifically takes the closing of a Chinese-owned factory in Ohio as a jumping-off point for a study of the wiles of global capitalism, and it's every bit as smart as you might expect from a film produced by the Obamas. A more sobering reminder of how the global order of the world has been cataclysmically disrupted in the last four years is another Netflix documentary, The Edge of Democracy, about Brazil's own national(ist) sickness. It's a harrowing lament, but it offers the viewer no sense of escape.
Which isn't to say that the The Cave and especially For Sama, both filmed in Syria and in the midst of war there, are escapist. The two most viscerally powerful documentaries in the category confront us with the chaos of imperial domination. Both films center the female experience of war, but For Sama does so more shrewdly, positing itself not just as a chronicle of war, but an act of remembrance. In a film that doesn't lack for gut-wrenching images of the dead, one particularly stands out: of a child, after being pulled from its wounded mother's womb via C section in the wake of a bombing, being brought back to life. Combined with the scenes depicting the citizens of war-torn Aleppo finding humor in the midst of conflict, the film attests not only to the perseverance of the Syrian people, but to the possibility that the country might still be brought back from the edge of oblivion.
Will Win: For Sama
Could Win: The Cave
Should Win: For Sama


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IBM Sets Stage for Teeny-Weeny, Real Real Small, Disk Storage
To give you an idea of IBM's accomplishment of storing one bit of data in 12 atoms, or one byte of data in 96 atoms, of iron on a surface of copper nitride, the equivalent would be a 10, 416-terabyte drive in the size of a 1 TB drive today.* That's because, according to the New York Times, "Until now, the most advanced magnetic storage systems have needed about one million atoms** to store a digital 1 or 0."
This was all done at IBM's Almaden Research Center in San Jose, Calif., which took five years to do it. Which means, because it was IBM, the scientists then used the teeny weeny storage device — where each atom has to be manipulated by hand using a device the size of a room — to spell out IBM's motto, "Think." Good thing they didn't work at Microsoft, where they would have had to painstakingly spell out, "Where do you want to go today?"
Of course, this is one of those "ignore friction" dealies that couldn't happen in the real world; for one thing, it was performed at close to absolute zero, which is going to be difficult to achieve in an overheated press room at CES, for example. Still, according to the scientists, it could be done at room temperature with just 150 atoms, the New York Times said. Realistically, though, it is likely that the technology could at most produce a drive of 100 TB in the space of 1 TB today.
Something I haven't seen in the reportage is just how sensitive such a system would be to cosmic rays, sunspots, droppage, and shocks from shuffling on carpeting. "Dude! You just wiped out the Library of Congress!" "Sorry, dude!"
The operative part of the technology was best explained by the Financial Times: "They did this by using an antiferromagnetic, instead of a ferromagnetic, structure – in other words switching the atoms in the structure from pointing towards each other (like in a fridge magnet) to pointing away from each other. This allows for less interference, which is important when storing data in 12-atom blocks."
For more details on the science behind the discovery, check out this video from IBM. If you *really* want to know the science, check out this article in, uh, Science.
*Yes, yes, I know, technically a terabyte has 1099511627776 bytes. Hush. You get the point. Incidentally, CNET said it would be 83,000 disk drives, because CNET forgot to divide by 8.
**The New York Times' story originally referred to "copper nitride atoms" until people made fun of them in the comments and "atoms" was deleted. Science is hard. Noted one commenter, " I have been both enlightened, and entertained. I also now know there is no such thing as a copper nitride atom, whereas previously, I had never wondered whether there was a copper nitride atom. Now I do, I'm not sure what to do with that."
Lack of a Backup Could Free a Killer
Think getting your backup right is a case of life and death? Here's an incident where it really is.
In a criminal case in Miami in 2009, a man named Randy Chaviano was convicted of second-degree murder committed in 2005 and sentenced to life in prison. As usual, a court stenographer was taking notes at the trial. But then there was a string of coincidences worthy of a Law & Order script.
- The stenographer didn't have enough paper for her machine — a mistake she'd apparently made before
- Consequently, the notes she took were recorded only in the machine's internal memory
- She transferred the stenography machine's records to her own PC
- She deleted the records from the stenography machine
- She didn't do a backup of the PC
- A virus hit the PC and deleted what was by then the only record of the trial, leaving only a pretrial hearing and closing arguments; it wasn't clear when this happened
This was all discovered recently, when the case was appealed, and it was discovered that the notes no longer existed — meaning that the case will have to be re-tried from scratch, according to the Miami-Herald. The paper didn't say how much re-trying the case would cost.
The court stenographer has since been fired — in fact, courts in Miami are now moving toward using digital recorders and no stenographers at all. Moreover, cost-cutting may have caused the problem in the first place, noted the Herald:
Court reporters in criminal court have also complained that plunging rates paid by the state have driven away experienced stenographers and forced firms to hang on to aging equipment.
"It seems very sloppy to allow the only record of a trial's proceedings to be held on an individual's PC – it's like asking for trouble if it isn't at the very least held securely as a backup elsewhere," noted Graham Cluley in the security blog Sophos. You think?
No word on the fate of the IT person who should have been responsible for doing backups on the PCs.
Storage Predictions for 2012 Roundup
It's as much a New Year's tradition as champagne and confetti: Computer industry predictions for the upcoming year, and storage is no exception.
(Of course, the e-discovery crowd had their e-discovery 2012 predictions all going in November, but they're overachievers.)
As with e-discovery, a certain number of these predictions fall into the no-s***-Sherlock school of Mom-and-apple-pie obviousness: Data is going to grow! Use of the cloud is going to increase! People will use more mobile devices! But there are some predictions that have more nuance to them.
1. Symform, for example, a cloud storage vendor, included in its list of 2012 predictions, "The "green" data center for cloud computing will be debunked."
While the cloud is heralded as "green," data center sprawl is creeping in as companies like Facebook, Google and Amazon build out massive global infrastructures to power their cloud-based services. Recent reports show Google continuously exerts 250 million watts of energy from the servers behind its cloud. That is enough to power all of Salt Lake City or any other city with approximately 200,000 households. Today, data centers account for 14 percent of all carbon emissions, and the EPA estimates that data centers and servers account for two percent of power in the U.S. By 2020, Symform predicts that if left unchecked, more than 25 percent of the nation's power will be required to power data centers, unless businesses can identify new means for storing data without building additional data centers.
25% is a lot. So, to that prediction, I'll add: We'll be seeing more companies investing in alternative energy, such as Google's investment in wind and solar, locating data centers in cool places like Finland and Oregon to use natural air for cooling, and incorporating alternative energy into the data center itself, like Granite Block's wind turbines and artesian wells. And this won't just be because it's the right thing to do, but simply because data centers may not be able to count on getting power any other way.
2. As predicted by Toshiba, flash storage will grow. But this isn't just the rah-rah-everything-grows prediction (and even Toshiba hedges its bets by saying that traditional spinning disks will still be the mainstay, due to their capacity). Floods in Thailand knocked out some hard-disk manufacturing — including at Toshiba — which not only made hard disk drives harder to get, but increased their prices, up to the point where flash storage is more competitive than it has been.
3. It's the end of cloud storage as we know it! trumpets storage vendor Drobo. And surely the fact that it manufactures on-site storage solutions for small businesses has nothing to do with it. In fact, Drobo cites research — which it conducted itself! — saying that "96 percent of SMBs (up to 500 employees) report they will store at least 50 percent of their data on-site for a minimum of the next three years. Factors cited included cloud performance, security and reliability concerns." Sarcasm aside, Drobo has a point. Widely publicized cloud failures, of which Amazon's was only one example, will likely give users pause about putting too many of their computing eggs into one cloud basket. If not, it should.
See you next year.
Don't Take This Disaster Recovery Facility for Granite
Fall River, Massachusetts: Textile mills. Lizzie Borden. Disaster recovery.
Disaster recovery?
Yep. A new data center, Granite Block Global Data Center Inc., which is intended to provide application hosting, colocation and disaster recovery services to businesses in the financial services, healthcare and high technology industries, has opened up in a former textile mill in the venerable Massachusetts city.
And "Granite Block" isn't just a colorful New England name. The walls of the facility are made of four-foot-thick solid granite, which the company says is virtually impenetrable.
Repurposing former industrial facilities into data centers has been an increasing trend in the past few years. Companies and cities looking for data center facilities are realizing that their business-convenient downtowns are often already the home of large, frequently empty, buildings. And not only do the buildings typically have a great deal of power capacity but companies can often get tax breaks for investing in what are considered distressed urban areas. Around the world, data centers are now moving into paper mills, tanneries, department stores, warehouses, and even churches and bomb shelters.
Now a 163,000-sq. ft. former textile mill in Fall River — a city previously famous for being the home of accused ax murderer Lizzie Borden — is joining them, with Granite Block investing $5 million in the project, amid hopes that other abandoned textile mills in the New England area could serve the same purpose. Open Cape, a fiber company, has already said it intends to move into the facility — which will also give other tenants an additional connectivity option.
In addition to making use of the large power capacity the building already has, Granite Block intends to install wind turbines for energy and 400-foot artisan wells for geothermal cooling. The company has also added two 2-megawatt generators and says it has enough fuel on-site to run them for six days.
The facility is starting with 20 jobs, but could bring up to 70 jobs to the area, as well as visitors. A similar data center in Boston, which is just 40,000 square feet, brings in 500 to 700 visitors monthly, meaning the Fall River site could see three times that amount, said Granite Block President Roland Patenaude.
Solid-State Storage Gets Boost From Flooding
The Thailand flooding that's boosted the price of hard disk drives may have an unintended benefit — at least if you're a manufacturer or user of solid-state flash drives.
This nuance came out earlier this month in connection to Intel issuing an earnings warning.
"[Intel CFO Stacy] Smith, meanwhile, said the average selling price for chips should be higher in the period as low-end PCs, which have the least expensive chips, take the biggest hit from the hard-disk drive shortages. He added that solid-state drives, which use flash memory, should see an increase in demand," said the Wall Street Journal.
Analysts such as Oakshire Financial delved into the issue in more detail, noting that this could be an investment opportunity.
If you believe the comments of Intel's CFO and think that solid-state drives are the future, consider the following: In addition to Intel, OCZ Technology Group (NASDAQ:OCZ) is one of the primary (read: overly hyped) makers of solid-state drives. Seagate (NASDAQ:STX), Western Digital and SanDisk all manufacture solid-state drives as well.
In fact, while hard disk drive prices have been going up, the prices of solid-state drives have been going down, notes Idealo. Moreover, regardless of the flood, solid-state drives are on track to match the price of hard disk drives in less than a year, the site notes. Previous predictions had been it would take two years for prices to equalize, the site added.
Heck With Nasuni's Top 6; Let's Hear the Bottom 10
Maybe people like to hear about losers? That's the conclusion after Nasuni Corp. released its State of Cloud Storage Providers Industry Benchmark Report. Over a period of 26 months, the company stress-tested a total of 16 cloud storage vendors to find out how well their services performed under pressure.
Of the 16, only 6 passed, according to Nasuni — Amazon S3, AT&T Synaptic Storage as a Service (powered by EMC Atmos), Microsoft Windows Azure, Nirvanix, Peer1 Hosting (powered by EMC Atmos), and Rackspace Cloud.
Moreover, the company is not releasing the names of the ten vendors that failed. According to Bloomberg Business Week:
Which 10 failed? Nasuni spared those names, and for good reason. It wants them to get better, not go away.
Well, okay, though if people gravitate toward the six winners Nasuni did publicize, that's not exactly going to be good news for the 10 losers anyway. (Do they, themselves, even know who they are? If not, how can they get better?) And, without knowing what Nasuni considers as a cloud storage provider, an awful lot of vendors stand to be tarred with the "loser" brush, notes Charles Babcock of Information Week.
There's also the question of Nasuni's own motivation. Bloomberg continues:
The Natick, Massachusetts-based startup provides storage technology and services built on top of existing cloud infrastructure. So the more providers in the market the better the competition and the more prices likely fall for Nasuni, which buys cloud storage and bundles in its proprietary technology to then sell to customers.
A company is ranking providers in a market in the hopes of being able to get a good deal from one of them? I'm sure Nasuni's motivations are nothing but honorable, but the perception is that there easily could be some quid pro quo going on — "Sure, I'll give you a good ranking, in return for a good deal."
It's great that someone is providing such testing, and the report and its methodology is interesting reading, including details about which service performs which functions the best. Still, it would be better if the tester wasn't a company that stood to benefit from the results.
Intel, Micron Double Flash Capacity
This past summer, we started hearing about developments that would make it possible to have a 1-terabyte drive on a laptop.
The heck with that. How about a 1-terabyte thumb drive?
Not quite yet, but soon. Intel and Micron, which just finished putting out a 20nm 64-gigabit NAND flash device not so long ago, has now developed a 20nm 128-gigabit NAND flash device, which means a 128-gigabyte solid state drive can be put together with eight of the things, in the size of a fingertip, according to the Wall Street Journal.
The announcement is another indication that companies keep packing more transistors on chips–roughly in keeping with the pace that industry pioneer Gordon Moore described in what Silicon Valley denizens call his law. The new chips are built from circuitry measured at just 20 nanometers–a level of miniaturization that some experts once projected would be too small for NAND flash technology to keep working.
The companies were able to do this in two ways, they say.
The companies also revealed that the key to their success with 20nm process technology is due to an innovative new cell structure that enables more aggressive cell scaling than conventional architectures. Their 20nm NAND uses a planar cell structure – the first in the industry – to overcome the inherent difficulties that accompany advanced process technology, enabling performance and reliability on par with the previous generation. The planar cell structure successfully breaks the scaling constraints of the standard NAND floating gate cell by integrating the first Hi-K/metal gate stack on NAND production.
The chips are expected to be shipped in sample quantities to system makers in January and reach mass production in mid-2012. They are expected to be used in mobile devices, portable gaming systems, and solid-state drives.
Mitt Romney Takes Lesson from Mike Huckabee on Disk Drives
A Republican presidential candidate, a former Governor, is being slammed in the press due to accusations that, when he left the governor's office, he ordered information from computers in his office destroyed.
No, not Mike Huckabee. It was Massachusetts Governor Mitt Romney, who added a new wrinkle: 11 staffers purchased 17 hard disks from government computers when departing. A spokeswoman for the campaign told the Boston Globe, which broke the story, that the former aides did nothing wrong and had "complied with the law and longtime executive branch practice" — at which point the Globe interviewed several past governors who said that, no, their staffers had never purchased state hard drives and in fact had never heard of such a thing.
Moreover, in September 2006, the Governor's office began submitting requests to the Records Conservation Board to destroy some documents, such as "vendor invoices, intern files, and accounting records – and those involving topics such as "travel expense records,'' "pardon/commutation records,'' and "individual appointment requests,"" the Globe reported. The upshot is that no records are available of email sent during Romney's four-year term.
Now, it's certainly true that e-Discovery experts advise that their clients have a regular program of destroying files as they reach a certain age, partly to prevent a legal fishing expedition should the company go to court. But typically, public servants are held to transparency laws that require them to save and archive such messages — President George W. Bush, for example, was required to have his office search for email messages when millions of them were found to have been deleted.
As with Huckabee's disk drive destruction, Romney's office at first claimed the disk drives were purchased because of the sensitive nature of the information on them. In a later interview, however, Romney cited another reason: keeping potentially damaging information out of the hands of his opponents.
In fact, radio station WBUR has since ascertained that Romney's office had shortened the lease of the computer equipment. "The new lease could be a completely innocuous attempt to give the new governor fresh computers. But it was standard practice to scrub the hard drives once a lease had expired, so changing the lease also allowed Romney's staff to order the hard drives scrubbed before returning the old computers."
Romney's claim is that the Massachusetts public records law does not cover the Governor, but that his office voluntarily donated some 700 boxes of records to the state archives — of course, on paper, which would make them virtually unsearchable by journalists or a court. In fact, they are said to be particularly disorganized.
To add insult to injury, Romney's office is claiming that this is all a plot cooked up by the current Massachusetts Governor, Democrat Deval Patrick, and the campaign of Democratic President Barack Obama, and is filing its own records request for communication between the two offices.
Two other Republican Governors who are or who have considered running for President, Texas Governor Rick Perry and South Carolina Governor Nikki Haley, have also been observed deleting records from their time in office.
What I said about Huckabee earlier this year is just as valid for Romney now, as well as for any other government official: Regardless of whether the data on the hard drives was incriminating or merely sensitive, the appearance is an issue. As the saying goes, in politics perception is more important than reality, and even if Romney had nothing but the best intentions in mind, his destruction of the disks gives the perception that he was hiding information that should legitimately be available to the people of Massachusetts and the U.S. With legal experts now saying that governments are subject to the same electronic discovery requirements as any corporation, Romney's actions could be considered suspect or legally liable.
Arbitrator Awards Seagate $525 Million in Western Digital Trade Secrets Case
What the hell can one guy know that's worth half a billion dollars?
That's Western Digital's reaction to a decision this week of an arbitrator to a case where a Seagate employee who joined Western Digital is accused of having brought trade secrets with him. Though it was Western Digital's idea in the first place to keep it secret four years ago when the case first came up, the Irvine, Calif. company has now publicized the award, along with saying it intends to fight the decision — though since it's binding arbitration, they may be out of luck. To add insult to injury, the award also includes 10% interest per year.
"The case stems from a lawsuit filed by Seagate in Hennepin District Court in October 2006 against Western Digital and former employee Sining Mao, alleging misappropriation of confidential information and trade secrets," writes the Star Tribune in Minneapolis, where the case was filed because Seagate has a lot of employees there. "Mao, 48, was an engineering manager at Seagate before departing for Western Digital in October 2006, where he's now a vice president. After the suit was filed, Mao filed for arbitration in June 2007, and a motion to compel arbitration was granted by the court in September 2007, according to a Western Digital securities filing. The arbitration hearing began in May and continued through July of this year," the Star Tribune continued, adding that Western Digital has more than $3 billion in cash on hand.
According to his LinkedIn profile, Mao was at Seagate for more than 11 years in positions of increased responsibility, and is still at Western Digital. He holds bachelor and masters degrees in physics from Peking University, and a doctorate in physics from the University of Maryland. His research topics cover the advanced nanotechnologies including GMR, TMR and BMR, as well as longitudinal and perpendicular recording, and he has more than 170 scientific papers and 50 conference presentations on magnetic thin film materials and devices, according to his bio for the Silicon Valley Technology Innovation and Entrepreneurship Forum. He also holds 57 patents in the field.
This isn't the first time Seagate has attempted to keep one of its high-level people from going to Western Digital. In 2004, the company sought an injunction to keep Peter Goglia, executive director of the Recording Head Operation, from joining Western Digital. This attempt failed; according to his LinkedIn profile, he became a vice president of R&D at Western Digital for three years before moving on to two other companies in the field.
This hasn't been a great year for Western Digital; the company was also affected by the Thai flooding, to the extent that it could lose its first place position in the disk drive market and could cut its revenue by more than half. However, the company also said that the judgment wouldn't affect its ability to purchase Hitachi GST, announced in March. Analysts quoted by Reuters, however, said misappropriation of trade secrets cases are hard to prove and that it doesn't affect the company's ability to compete.
Yes, It's That Time Already: E-Discovery Predictions for 2012
In the same way that Costco and Big Lots have had Christmas stuff out since before Halloween, it's not even Thanksgiving yet and there's already at least three predictions of 2012 e-Discovery trends out there. Lord help us.
(One could conjecture that it's because e-Discovery comes from the legal profession, and it's their job to do planning, and come out with surveys, but as it happens, the storage industry is starting to come out with predictions, too. It's just that there aren't three of them to make a trend yet.)
Daegis, an e-Discovery vendor, came out with its predictions on Wednesday:
- Litigants will Focus On Leveraging Knowledge Gained In Prior Reviews
- Out with the Old Pricing Model, In with the New
- Cloud and Social Media Make Privacy, Security Issues Foggy
- The Human Element Returns to eDiscovery
- Judges, Regulators Increase Focus on eDiscovery Rules
Meanwhile, the nonprofit blog Metropolitan Corporate Counsel came out with its five predictions on Thursday.
- The Cloud is here to stay
- Big data and business intelligence meet eDiscovery
- New technology drives real changes in how data is identified, collected, processed, reviewed, analyzed and produced
- Data collection continues to become more complex
- Continued maturation of corporate e-Discovery processes
- Technology Assisted Review (TAR) Gains Speed
- The Custodian-Based Collection Model Comes Under Stress
- The FRCP Amendment Debate Will Rage On – Unfortunately Without Much Near Term Progress
- Data Hoarding Increasingly Comes Under Pressure
- Information Governance Becomes a Viable Reality
- Backup Tapes Will Be Increasingly Seen as a Liability
- International e-Discovery/e-Disclosure Processes Will Continue to Mature
- Email Becomes "So 2009" – As Social Media Gains Traction
- Cost Shifting Will Become More Prevalent – Impacting the "American Rule"
- Risk Assessment Becomes a Critical Component of e-Discovery
Some of these are kind of no-brainers and there's a fair amount of overlap between the three sets. The cloud and social media are going to continue making e-Discovery more complex. E-Discovery processes continue to mature, which means judges will increasingly rely on rules and new ones are likely to be created. Things keep getting more expensive. And the more data you have, the more likely it is that something in there is going to come back and bite you.
See how easy it is? I just made four predictions of my own and I wasn't even trying.
On the other hand, we've got one prediction saying e-Discovery is going to become more human, and another saying there's going to be more machine-aided review as the custodian model comes under more stress. How to reconcile that, I don't know.


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coach; passenger car.
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The Squirrel's Heart Beat
"If we had a keen vision of all that is ordinary in human life, it would be like hearing the grass grow or the squirrel's heart beat, and we should die of that roar which is the other side of silence".
(George Eliot – English Novelist. Pseudonym of Mary Ann Evans, 1819-1880)
This was shot last Friday at the tomb of Mohammad Ghaus in Gwalior in the central Indian state of Madhya Pradesh.
I was sitting on the stairs of the entrance of the Mughal style building of the 16th century and I saw this funny squirrel behaving like a character from an animated cartoon and striking many poses as if it was used to cameras.


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Teeth Whitening Will Make You Look Younger!
Using teeth whitening products, combined with proper dental care, will result in a wonderful smile. Along with teeth whitening, your smile makeover may include porcelain veneers, dental implants, porcelain crowns, dental bridges and gum shaping. If youre looking for a quick way to take years off of your face, a teeth whitening treatment is definitely a winning bet!
When the popularity of teeth whitening procedures began to soar in the early 2000s, patients turned to their dentist to have the procedure done and you should still do the same today. Always check with your dentist before using any teeth whitening product. Before you decide to spend the time, energy, and money on teeth whitening products, ask your dentist what kind of results you should expect. A dentist can prescribe the teeth whitening procedure that is suitable for your gums and general oral health. The ADA also recommends that you consult your dentist before using teeth whitening products. As a precautionary note: always seek professional advice from a dentist who is experienced in teeth whitening procedures.
A Whiter Smile will take 10 years off!
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Bhayandar: Almost immediately after The Free Press Journal carried a photo feature "Shocking! 400V Box Tied to Tree" on August 2, exposing the shocking blunder of clipping an electric box complete with cables to a recently-planted tree
Officials from the electrical maintenance wing and tree authority of the Mira Bhayandar Municipal Corporation (MBMC) woke up from their slumber.
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ABOVE: Singer Janet Jackson attends her residency debut "Metamorphosis" after party at On The Record Speakeasy and Club at Park MGM on May 17, 2019 in Las Vegas, Nevada. (Photo by David Becker/Getty Images for Park MGM)
Janet Jackson wrapped her 18-date "Metamorphosis" Las Vegas residency earlier this month, grossing $13 million and selling 76,813 tickets for the shows held at the Park Theater at Park MGM Hotel.
The music event ran from July 24 to August 17, and according to Billboard, on average, Jackson raked in $722,000 and sold over 4,000 tickets per night.
The music icon is listed as one of the biggest Vegas performers of this decade ahead of Celine Dion's $704,000 opening pace (2011), Britney Spears' $679,000 (2013) and the Backstreet Boys' $593,000 (2017).
Back in February when the shows were announced, the description teased how "Metamorphosis" would "peel back the layers of the immensely private life of Janet Jackson, sharing her transformation from a young girl with issues of self-esteem to global Icon."
Adding, "the centerpiece of this all new thought-provoking show, will be Janet herself, captivating you through your senses with electrifying visuals, explosive dance numbers, chart-topping hits and fan favorite deep cuts. The show also features a special 30-year anniversary celebration of her ground-breaking album Rhythm Nation. Fans will follow her path to self-love, empowerment, motherhood and activism, amidst the challenges faced along her personal journey. She encourages her audiences to find their own light within themselves through her Metamorphosis."


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New income-splitting rules might make some couples want to fudge their relationship statuses. The tax rules benefit married and common-law couples who have children under age 18. Unfortunately, single parents get nothing.
But to ensure clients are being completely honest, CRA might start examining the state of a couple's relationship, asking specific questions, reports Financial Post. This could include whether the couple sleeps in the same room, eats meals together, or buys gifts for eachother on special occasions.


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