The Internet has fatally wounded big c criticism. Big c criticism got its first major wounding in the mid-nineties with Independence Day. Then it got hit again with Armageddon. So it was down and bleeding and couldn’t defend itself—if it’d known how—for the death blow of social networking. Also, also, there was all the critic shake-up after Siskel died and so on and the New York Times changing then becoming irrelevant, which I’ve always blamed on them going with the three critic route instead of just platforming Elvis Mitchell.
It was the late 1990s or early 2000s, film had time to be better for that move.
Instead, we’ve got what we’ve got.
When I started writing, blogging was blogging and writing was writing. They were very, very separate.
I proofread writing, for goodness sake; I didn’t proofread blogging when I started and I don’t now… I’ve gotten better at spelling—or just found an accurately spelled vocabulary; some of those old posts are raggedy. I still find typos when I’m going through to update them. I’m doing Martin capsules. It’s a lengthy project but still fun blog tinkering, The most important aspects for being fun blog tinkering, in Capsules case, is getting to play with image manipulation. It also doesn’t require much new writing. I’m writing so much. It’s so much—four blogs, plus the Capsules micro-blog. If I had half a brain I’d start working towards consolidating the writing on The Stop Button and whatever else—video, podcast—on Visual Reflux. See, I had wanting to make my writing my blogging—meaning edit posts, meaning do drafts, meaning… proofread. But one of the great things about how and why social networking ended big c criticism is criticism’s never been better and there’s never been more of it. When Ebert brought in Richard Roeper, he broke the gate—seemingly unintentionally—and the gatekeepers have slowly lost power until now. Popular film got better faster than critics got about talking about better popular films. Even now there are some fundamental misunderstandings, with the old folks not listening when the young folks are right. Because the young folks know better. Right now some thirteen year-old out there has a better handle on my take on film than I do at 41. They’ve already got the algorithm. And they’ll have a better one next year while I’m catching up with the now twelve-year old who’s got it. It’s a different world and a better one for those differences.
Not actually eight minutes of me complaining about Scorsese failing to live up to my expectations (or hopes). Six minutes of it.
But new sound setup. And cats in the background. Not vocal cats, but mischevious ones.
It’s sort of the end of the first week of Visual Reflux. I soft-launched with the Captain Marvel post last weekend (a few days before Stop Button got it) and I’ve been pretty good about getting up a post a day. Until today. Well, until yesterday. I was a little burned out yesterday, which—as I write this post—is still today for me. I started to write this kind of a post—the nothing post—yesterday (meaning Thursday), but wanted to write that Robocop: Last Stand #1 post instead. Mostly because I wasn’t sure how I was going to write that post. I know how to write these posts; you just type until you hit the word count and then you wrap it up real quick. I thought about doing some link posts but I don’t have much to say at length about the new Avengers: Endgame trailer or poster. I hope they don’t screw up. I have no reason to think they will. Kevin Feige’s turned into a fine producer, regardless of the PGA thing or the whole cappie situation.
I also have nothing to say at length about James Gunn being back for Guardians 3, other than a tweet about hoping Marvel somehow screws WB over—Gunn is making “The” Suicide Squad for WB before he makes Guardians. Given the first Suicide Squad is one of the few recent films I detest more than Guardians 2, it’ll be interesting to see—on home video—what Gunn does with that crap pile.
I don’t think there was any other significant entertainment news. There might have been some comic stuff, but nothing worth discussing at length. Even at the link length, which I haven’t really figured out yet. I’ll probably come up with word count guidelines for every post type (spoiler: it’s mostly 350; 350 for these “Summing Up” posts, 350 for the “Focused” comic—and eventually TV—posts). I don’t actually know how long the Robocop 2 or Alien 3 comic posts went. I should probably figure that data into the mix.
And look at that red indicator… I’m done with this post.
It’s early days with Visual Reflux. Really, really early days considering it’s self-hosted and not even getting the spam hits off WordPress.com. So I’m trying to establish writing behaviors without doing anything too themed. Like, it’s not worth the time to link to all the Robocop movie posts on Stop Button or all the Robocop comic posts on Comics Fondle—which I considered—because the eyes aren’t there. Here. The eyes aren’t here.
I once wrote a story with no Os in it. I tried to write it without any Is first, but it was too hard.
That story was weird.