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- SCREENSHOT OF THE DAY: the sims diesel pack (pc, 2012)
- VIDEO: remo rauscher's "the streets of the invisibles" (2012)
- SF: ryan jay's life is backward (2010)
- ONION: zizek in bed
- BLOG: riccardo chiaberge punge come una vespa
- VIDEO: kogonada's sounds of aronofsky
- SPACE: earth
- FILM: brandon cronenberg's "antiviral"
- FOUR REAL: four barrel coffee - american hipster presents
- 1%: average faculty salaries 2011-2012 (north american colleges)
ciao bimbi
VIDEOCRACY: "enough machismo italian style" (the new york times)
"For decades, women have been used on Italian television shows as speechless bodies serving an audience-enhancement purpose. It is enough to turn the TV to any channel at any time to observe this. Advertisements also often make use of women’s bodies to sell everything from tires to antivirus software, using sexual double-entendre, and sometimes even brutal slogans.
We remember once, at Rome’s Fiumicino Airport, staring shocked at a huge advertisement for holiday cruises displaying six half-turned naked women and the slogan, “We have the best backsides in Italy” (in Italian the word also means breast).
Many Italian men would look at this image of women as the normal role of females. Becoming a showgirl is, in fact, a tempting ambition for many teenagers — their looks are often the only road to success, riches and sometimes even a political career. When women are appointed to political office based on their beauty portfolio, as has happened several times, they might learn how to do a good job, but they will never be taken seriously (as an intelligent and also beautiful government minister, who used to be a showgirl, recently learned)." (Chiara Ruffa & Rosa Raffaelli, The New York Times)
TV: mad men (ny reviews of books)
"The greatest part of the audience for Mad Men is made up not, as you might have imagined at one point, by people of the generation it depicts—people who were in their twenties and thirties and forties in the 1960s, and are now in their sixties and seventies and eighties—but by viewers in their forties and early fifties today, which is to say of an age with those characters’ children. The point of identification is, in the end, not Don but Sally, not Betty but Glen: the watching, hopeful, and so often disillusioned children who would grow up to be this program’s audience, watching their younger selves watch their parents screw up." (Daniel Mendelsohn)
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