#Stuart Jeffries

[eretzyisrael]

Guardian's review of Oct. 7 documentary sparks outrage over 'demonizing Gazans' comments

by Miri Weissman

The Guardian has found itself at the center of a heated controversy following its review of "One Day in October," a documentary focusing on the October 7 Hamas attacks on Kibbutz Be'eri. The review, published recently, has sparked significant backlash across social media platforms, particularly on X.

The Guardian's review, written by Stuart Jeffries, described the film as "composed of heartbreaking survivor interviews along with disturbing footage from phones and security cameras. Camera footage from a 4x4, time-stamped 8:01 AM, includes audio from hysterically excited unseen terrorists as they race to join the killing spree. 'It's time for the nation of Jihad! … I swear to God! … We'll slaughter them! … I wanna livestream this! We've got to show the folks back home!' A comrade assures the speaker they already are: Hamas massacred Israelis for viewers in real time."

It suggested that while the documentary might help explain Israel's actions in Gaza and Lebanon, it fails to provide insight into Hamas's motives for the attacks. "If you want insight into why Israel is doing what it is doing in Gaza and Lebanon, this film may help. If you want to understand why Hamas murdered civilians, though, One Day in October won't help."

"Indeed, it does a good job of demonizing Gazans, first as testosterone-crazed Hamas killers, later as shameless civilian looters, asset-stripping the kibbutz while bodies lay in the street and the terrified living hid," Jeffries continued.

Jeffries compared the documentary to Cy Endfield's "Zulu," suggesting that "One Day in October," if unwittingly, "follows the same pattern" of othering. He argued that "All our sympathies are with relatable Israelis" while "Hamas terrorists are a generalized menace on CCTV, their motives beyond One Day in October's remit."

The review concluded by juxtaposing the death toll: "101 kibbutzniks and 31 soldiers were killed at Be'eri on 7 October. Of 32 hostages seized, five were murdered, while three remain in Gaza. So far, since 7 October, 40,000 Gazans have died."

The reviewer's critique of the film has led to a wave of criticism on social media. One X user responded, "Dear @guardian, if you wanted to see Gazans painted as peace-loving citizens, then perhaps a documentary about the massacre of Kibbutz Be'eri on Oct 7th wasn't for you. Sorry if you feel that portraying those who murdered, stole and celebrated the deadliest day for Jews since the Holocaust as 'murderers and looters' is an inaccurate portrayal."

[longtallglasses]

excerpts from Grand Hotel Abyss by Stuart Jeffries referring to Walter Benjamin pg. 19-21 -

"Benjamin's task was therefore to retrieve what had been consigned to oblivion by the victors... the way in which examining an obsolete technology-driven form of entertainment that was once the last word can make us reflect on a later technology with similar pretensions."

"For Benjamin it was such out of date things, as well as the aborted attempts and abject failures that had been erased from the narratives of progress, that drew his critical attention. His was a history of losers, not just the defeated humans, but of expendable things things that, back in the day, had been the last word."

"— studying the overlooked, the worthless, the trashy, the very things that didn't make sense within the official version of history but which, he maintained, encoded the dream wishes of the collective consciousness."

[opticandmasturbation]

Alisa Poret’s illustrations for How the Revolution Was Won

«The era hymned by this exhibition came to an end, Ahmad argues, in 1934 when the All-Union Congress of Soviet Writers adopted socialist realism as the only tolerable aesthetic style. Non-objectivism? Constructivism? Suprematism? Surrealism? Primitivism? All these isms, which had been so important in the flourishing of children’s illustration in the previous decade and a half, were deemed inimical to the Soviet state.

By then, censorship and greater state control over publishing was becoming more intense. For instance, El Lissitzky’s Yiddish-language book The Only Kid became one of the first titles to be destroyed following renewed state censorship in the 1930s of the leading language of Russian Jews.

Increased censorship prompted the exile of many avant garde artists who had revolutionised children’s illustration during the previous decade and a half. Russian emigrés Nathalie Parain and Feodor Rojanovsky, for instance, went to France where they created the beloved Père Castor series of illustrated children’s books. Other artists, such as Marshak and Lebedev, stayed and tailored their work to fit the new Stalinist order.

The excitement of the early years of the Soviet experiment in children’s books may have been over, but it had an important afterlife. Soviet books brought to Britain inspired the creation of the Puffin Picture books in 1940. And now there is this exhibition, the first of its kind in Britain, to remind us of that scarcely conceivable, utopian moment when children’s books were a place for avant garde experiment and revolutionary political struggle»

—Stuart Jeffries

[uselessmuseum]

Stuart Jeffries, Everything. All the time. Everywhere, 2023 https://greyhoundliterary.co.uk/authors/stuart-jeffries

[dipnotski]

Stuart Jeffries – Büyük Uçurum Oteli (2024)

Yirminci yüzyılın en heybetli entelektüel hareketlerinden biri olan Frankfurt Okulu’nun tarihi hakkında harika bir çalışma. 1923 yılında bir grup entelektüel modern dünyanın işleyişini çözümlemek, kapitalist sistemin eleştirisini yapmak üzere Frankfurt’ta bir araya geldi. Sonraları Frankfurt Okulu olarak anılacak Marksist Araştırma Enstitüsü kurulduğu andan itibaren reel siyasete mesafeli, siyasi…

[kulturado]

The Story: ‘We don’t need more small-penis energy’… Sharon Stone on why she swapped acting for art

The Writer: Stuart Jeffries

(Sharon Stone photo: Eva Oertwig/Schroewig; Stone painting below: Please Don’t Step on the Grass)

[xxweyussyenjoyerxx]

@jeffrey-combs-smash-or-pass taKE HIM AWAY FROM ME

[merinarasauce]

so i googled some stuff abt anish kapoor bc im not sure how i feel about the dude rn and apparently he said he has "no message for the world" but i also found a couple headlines, one based, the other extremely concerning

[ID: Interview headline that reads: "Anish Kapoor: 'The government is damn dangerous and a bunch of f***ing liars'".]

[ID: Interview headline that reads: "Anish Kapoor: 'If I was a young Muslim, would I feel angry enough to join ISIS? I would at least think about it'". The article is written by Stuart Jeffries.]

(worth noting that kapoor is not muslim, he is jewish)

[alexlacquemanne]

Septembre MMXXIV

Films

L'Homme au pistolet d'or (The Man with the Golden Gun) (1974) de Guy Hamilton avec Roger Moore, Christopher Lee, Britt Ekland, Maud Adams, Hervé Villechaize, Clifton James, Richard Loo et Soon-Tek Oh

La Panthère rose (The Pink Panther) (1963) de Blake Edwards avec Claudia Cardinale, David Niven, Peter Sellers, Robert Wagner, Capucine, Brenda De Banzie et Fran Jeffries

Le Masque de Zorro (The Mask of Zorro) (1998) de Martin Campbell avec Antonio Banderas, Anthony Hopkins, Catherine Zeta-Jones, Stuart Wilson, Matt Letscher, Victor Rivers et Tony Amendola

La Classe américaine : Le Grand Détournement (1993) de Michel Hazanavicius et Dominique Mézerette avec Christine Delaroche, Evelyne Grandjean, Marc Cassot, Patrick Guillemin, Raymond Loyer, Joël Martineau, Jean-Claude Montalban et Roger Rudel

Les Sept Mercenaires (The Magnificent Seven) (1960) de John Sturges avec Yul Brynner, Steve McQueen, Charles Bronson, James Coburn, Robert Vaughn, Brad Dexter, Horst Buchholz, Eli Wallach, Jorge Martínez Hoyos, Vladimir Sokoloff et Rosenda Monteros

Un homme est mort (1972) de Jacques Deray avec Jean-Louis Trintignant, Ann-Margret, Roy Scheider, Angie Dickinson, Umberto Orsini, Ted de Corsia, Alex Rocco, Felice Orlandi et Michel Constantin

Le Grand Pardon (1982) d'Alexandre Arcady avec Roger Hanin, Richard Berry, Bernard Giraudeau, Jean-Pierre Bacri, Gérard Darmon, Jean-Louis Trintignant, Clio Goldsmith, Richard Bohringer, Lucien Layani et Anny Duperey

Luke la main froide (Cool Hand Luke) (1967) de Stuart Rosenberg avec Paul Newman, George Kennedy, Strother Martin, J. D. Cannon, Lou Antonio, Jo Van Fleet, Clifton James et Morgan Woodward

Everything Everywhere All at Once (2022) de Daniel Kwan et Daniel Scheinert avec Michelle Yeoh, Stephanie Hsu, Ke Huy Quan, James Hong, Jamie Lee Curtis, Tallie Medel, Jenny Slate et Harry Shum Jr

Le Tonnerre de Dieu (1965) de Denys de La Patellière avec Jean Gabin, Michèle Mercier, Lilli Palmer, Robert Hossein, Georges Géret, Paul Frankeur, Ellen Schwiers, Nino Vingelli, Louis Arbessier et Daniel Ceccaldi

La Pomme de son oeil (1970) de François Villiers avec Jean Pierre Aumont, Elisabeth Wiener, Sophie Desmarets, Carol Lixon, Jean Marc Thibault, Gabrielle Doulcet, Pierre Bertin, Gérard Depardieu et Edith Ker

Baiser mortel (A Kiss Before Dying) (1956) de Gerd Oswald avec Robert Wagner, Jeffrey Hunter, Virginia Leith, Joanne Woodward, Mary Astor, George Macready et Robert Quarry

Arabesque (1966) de Stanley Donen avec Gregory Peck, Sophia Loren, Alan Badel, Kieron Moore, Carl Duering, John Merivale, Duncan Lamont et George Coulouris

Séries

Nestor Burma Saison 5, 6

Drôle d'épreuve pour Nestor Burma - La Plus noble conquête de Nestor - Poupée russe - Les Affaires reprennent - En garde, Burma ! - Mise à prix pour Nestor Burma - Burma et la Belle de Paris - N’appelez pas la police

Castle Saison 7, 8

Planète hostile - Le Flic de Hong Kong - Dans la ligne de mire - L'Attaque du pitbull - En sommeil - Y a-t-il un enquêteur dans l'avion - La mort n'est pas une blague - Dans les bois - Disparition - Conspiration - Cinquante Nuances de vengeance - De pieux mensonges - Le Nez - Une vieille connaissance - Un homme à femmes

Affaires sensibles

Le tortueux destin des Inconnus - Le Parrain, les recettes d'un chef-d'œuvre - Lolo Ferrari, la chute de l'icône de silicone - Rocky : l'Amérique les poings levés - La chute de la IVème République en mai 1958 - Landru et le chemin des dames - Les révoltés du France - The Golden State killer, le plus froid des cold case - Rue des Rosiers : le lent chemin vers la vérité ?

Maguy Saison 8

Les délinquants sont éternels - Ennuis et héros - Tx-trol de drame - Crocodile Maguy - Tous les kalaniens, toutes les kalaniennes - Funérailles aïe aïe - Nomade's land - Sauce grand vanneur - L'entremêleur - Maguy, Georges, Pierre, Rose et les autres - Traitement de chic - Allô Maguy ici bébé - Roman à l'eau de rose - Le fiscopathe - Olé beaux jours - Cet obscur objet de Désiré - Hoquet sur place - Fenêtre sans cour - La guerre des canulars - Désastres et des astres - Legs à deux têtes - Une souris et des homme - Coût de peau - La bourse ou Maguy - N'oubliez pas le service - C'est pas sorcier - Drôle de squatt - L'espion qui venait d'en face - Bébé éprouvant - Crises de mères

Le Coffre à Catch

#183 : Bataille Royale + Hommage à Sid - #184 : Santino Show + Dusty supporte Uva - #185 : Le futur s'appelle Ezekiel Jackson - #186 : La ECW : c'est annulé !! - #187 : Yoshi Tatsu et Goldust champions pour la dernière?

Les Nouvelles Brigades du Tigre Saison 5

S.O.S. tour Eiffel - Le Temps des garçonnes - Le Vampire des Carpates - Made in U.S.A. - Le Réseau Brutus - Le Complot

Nautilus Saison 1

Évasion - Tic Tac Boum - La force du peuple - Sur une pente glissante - Hallucinations - L'Atlantide - Guerre froide - Le Point de bascule - La Chevauchée des Walkyries - Bouquet final

The Grand Tour Saison 6

Un dernier pour la route

MacGyver Saison 1

Pris au piège - Le Casse du casino - Cauchemars - La Taupe - Mission Afghanistan

Brokenwood Saison 9

Brokenwood: Le Musical - On ne choisit pas sa famille - Les Petites Soeurs de Sainte-Monica

Commissaire Dupin

Les secrets de Brocéliande

Brocéliande

Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6

Friends Saison 1

Celui qui déménage - Celui qui est perdu - Celui qui a un rôle - Celui avec George - Celui qui lave plus blanc - Celui qui est verni - Celui qui a du jus - Celui qui hallucine - Celui qui parle au ventre de sa femme - Celui qui singeait - Celui qui était comme les autres - Celui qui aimait les lasagnes - Celui qui fait des descentes dans les douches - Celui qui avait un cœur d'artichaut - Celui qui pète les plombs - Celui qui devient papa : première partie - Celui qui devient papa : deuxième partie - Celui qui gagnait au poker - Celui qui a perdu son singe - Celui qui a un dentiste carié

Spectacles

Gary Moore : Live at Montreux (2010)

Laurent Gerra flingue la télé (2006)

La Sainte famille (1976) de Georges Vitaly avec Dominique Paturel, Nelly Vignon, Frank Baugin, Erik Colin, Rodolphe Marin, Jose Luccioni, Jacques Balutin, Michèle Grellier, Max Desrau, Monique Delaroche, Madeleine Cheminat, Odile Mallet, Robert Party Frédérique Cernay, André Lambert, Xavier Renoult et Bertrand Gohaud

The Police : Certifiable: Live In Buenos Aires (2008)

The Doors : Live at the Hollywood Bowl (1968)

Livres

Zazie dans le métro de Raymond Queneau

Le boucher d'Alina Reyes

Effroyables jardins de Michel Quint

Kaamelott, tome 8 : L'antre du Basilic d'Alexandre Astier et Steven Dupré

Kaamelott, tome 9 : Les renforts maléfiques d'Alexandre Astier et Steven Dupré

Les secrets de Brocéliande de Jean-Luc Bannalec

Friends l'intégrale : Le livre officiel des dix ans ! de David Wild

Astérix, tome 16 : Astérix chez les Helvètes de René Goscinny et Albert Uderzo

[ulkaralakbarova]

The lives of two struggling musicians, who happen to be brothers, inevitably change when they team up with a beautiful, up-and-coming singer. Credits: TheMovieDb. Film Cast: Susie Diamond: Michelle Pfeiffer Jack Baker: Jeff Bridges Frank Baker: Beau Bridges Monica Moran: Jennifer Tilly Girl in Bed: Terri Treas Nina: Ellie Raab Lloyd: Xander Berkeley Charlie: Dakin Matthews Ray: Ken Lerner Henry: Albert Hall Vince Nancy: Gregory Itzin Earl: Bradford English Kid at Vet: David Coburn Theo: Todd Jeffries Man with Cleaver: Del Zamora Bathroom Attendant: Howard Matthew Johnson Veterinarian: Stuart Nisbet Laughing Bar Patron: Nancy Fish Waitress: Beege Barkette Bad Singer: Martina Finch Bad Singer: Wendy Goldman Bad Singer: Lisa Raggio Bad Singer: Vickilyn Reynolds Background Voice (voice): Tina Lifford Background Voice (voice): John Lafayette Hotel Masseuse: Gregory James Doorman: Robert Henry Eddie: Drake Film Crew: Producer: Mark Rosenberg Original Music Composer: Dave Grusin Writer: Steve Kloves Director of Photography: Michael Ballhaus Editor: William Steinkamp Producer: Paula Weinstein Production Design: Jeffrey Townsend Stunt Coordinator: Jon Conrad Pochron Executive Producer: Sydney Pollack Associate Producer: Robin Forman Unit Production Manager: Bill Finnegan Associate Producer: Julie Bergman Sender Casting Director: Wallis Nicita Costume Design: Lisa Jensen Executive Music Producer: Joel Sill Location Manager: Robin Citrin First Assistant Director: Charles Myers Second Assistant Director: Tracy Rosenthal-Newsom Key Grip: Steve Smith Set Decoration: Anne H. Ahrens Assistant Art Director: Michael Perry Hairdresser: Jeanne Van Phue Makeup Artist: Ronnie Specter Assistant Makeup Artist: Tammy Kusian Special Effects: Robert E. Worthington Sound Mixer: Stephan von Hase Supervising Sound Editor: J. Paul Huntsman Music Editor: Bunny Andrews Sound Effects Editor: John Haeny Stunts: Paul E. Short Movie Reviews:

[docrotten]

THE REVENGE OF FRANKENSTEIN (1958) – Episode 165 – Decades Of Horror: The Classic Era

“How can I do me dance without me legs?” Or how can you be a pickpocket without your arm? Dr. “Schtein” doesn’t seem to care. Join this episode’s Grue-Crew – Chad Hunt, Daphne Monary-Ernsdorff, Doc Rotten, and Jeff Mohr – as they take in the second of Hammer’s Frankenstein films: The Revenge of Frankenstein (1958).

Decades of Horror: The Classic Era Episode 165 – The Revenge of Frankenstein (1958)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL Which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/

Having escaped execution and assumed an alias, Baron Frankenstein transplants his deformed underling’s brain into a perfect body, but the effectiveness of the process and the secret of his identity soon begin to unravel.

  Directed by: Terence Fisher

Writing Credits: Jimmy Sangster (written by); Hurford Janes (additional dialogue by); George Baxt (additional dialogue) (uncredited)

Produced by: Michael Carreras (executive producer); Anthony Hinds (producer); Anthony Nelson Keys (associate producer)

Music by: Leonard Salzedo

Cinematography by: Jack Asher (director of photography)

Editing by: Alfred Cox

Production Design by: Bernard Robinson

Makeup Department: Philip Leakey (makeup artist) (as Phil Leakey)

Selected Cast:

Peter Cushing as Doctor Victor Stein

Francis Matthews as Doctor Hans Kleve

Eunice Gayson as Margaret Conrad

Michael Gwynn as Karl (New Karl)

John Welsh as Bergman

Lionel Jeffries as Fritz

Oscar Quitak as Dwarf (Original Karl)

Richard Wordsworth as Up Patient

Charles Lloyd Pack as President

John Stuart as Inspector

Arnold Diamond as Molke

Marjorie Gresley as Countess Barscynska (as Margery Gresley)

Anna Walmsley as Vera Barscynska

George Woodbridge as Janitor

Michael Ripper as Kurt

Ian Whittaker as Boy

Avril Leslie as Girl

It’s Doc’s choice of films for this episode, so it should be no surprise the film chosen is the Hammer/Peter Cushing classic The Revenge of Frankenstein (1958). A rare event for Hammer, this feature is a direct sequel to its predecessor, The Curse of Frankenstein (1957), beginning with Victor Frankenstein escaping the guillotine. A dastardly chap, that Frankenstein. A new series of shenanigans begins as Frankenstein, now known as Doctor Stein, continues his experiments. A surprisingly serious take on the character and Shelley’s story follows Peter Cushing’s Doctor Frankenstein instead of Christopher Lee’s Monster. Check out what the Grue Crew shares about this fantastic early Hammer horror entry.

At the time of this writing, The Revenge of Frankenstein is available for streaming from multiple PPV sources. It is also available on physical media as a Blu-ray in the Hammer Films – Ultimate Collection, a 20-film set from Sony. 

Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule, as chosen by Chad, is Fiend Without a Face (1958)! The Grue Crew can’t wait!

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at feedback@gruesomemagazine.com

To each of you from each of them, “Thank you so much for watching and listening!” 

Check out this episode!

[denimbex1986]

'Charged with hindsight and consequence, the origin stories of landmark inventions make up, at this point, a genre of their own (e.g. The Imitation Game, The Social Network, and Hidden Figures). Any film that attends to a STEM breakthrough in particular has to deal with a daunting problem: how do you dramatize an esoteric subject for a general audience?

The STEM movie of the summer, Oppenheimer, seems to decide early on that its audience cannot understand physics, much less evaluate its protagonist’s skill as a physicist. Instead, Oppenheimer’s intelligence is asserted by way of what I can only classify as weird flexes: reading the Bhagavad Gita in Sanskrit mid-coitus, or giving a lecture in Dutch, later telling a colleague that he had learned the language in six weeks for the occasion. That there are no subtitles during his lecture, that the formulas he writes on chalkboards are shot out of focus and garnished with music, conveys the degree to which the audience is asked to believe in Oppenheimer’s competence but not to worry over the particulars—the particulars, which for me, lay the foundation of pleasure in any great film about craft.

A craft movie, as I’ll refer to them here, is a drama about a person who wants to be great at their trade. Sports movies and workplace movies fit into this category, as would a movie following an artist, chef, dressmaker, musician, hitman, ballerina, or stripper, so long as the work itself is central to the plot. The best craft movies replicate the pleasures of learning a craft yourself. You become conversant with a new world. You begin to recognize its values and customs...

The latest film from writer-director Christopher Nolan is a craft movie insofar as its central drama involves talent, work, and the pursuit of greatness, but it doesn’t leave me feeling like I have been brought into the fold. Most notably, I don’t feel prepared, or even invited, to evaluate J. Robert Oppenheimer as being uniquely capable at physics. Instead, I am handed other people’s evaluations of him and asked to accept them at face value. From the outset, the film proclaims Oppenheimer’s status as Promethean, leaving me, as a viewer, with nowhere to go, little to determine.

Oppenheimer is not the first movie about a man in STEM to hurry through the technical stuff. As Stuart Jeffries observed for The Guardian in 2016, math movies often have “a black hole where the maths should be.” So extensive are the precedents that Oppenheimer is not even the first movie with Matt Damon and Casey Affleck to fit this bill. Watching Oppenheimer, Good Will Hunting springs to mind, in which Damon’s Will Hunting develops his skills as a mathematician, yet his most memorable show of prowess, the one that leads his friend Morgan (Affleck) to boast—“My boy’s wicked smart”—concerns not math but early American history, as if expertise in one, conceivably more accessible field of study can stand in for another...

As is the case with any biopic or adaptation, Oppenheimer makes me curious about the logic governing Nolan’s choices of what’s left out and what goes in. A lot of names and terms populate the movie’s first act: quantum physics, fission, fusion, Albert Einstein, Niels Bohr, Enrico Fermi, Werner Heisenberg, Richard Feynman. (A “Sea of Scientists and Soldiers,” Vulture called it.) It leaves me both tired and disoriented, as though I have just read aloud the complete list of rules to a board game but am no closer to understanding how the game is played. We see, sporadically, through Oppie’s point of view, vibrating slinkies that represent the idea of energy. We watch him throw stemware into the corner of his room, where it breaks on the floor. I think we are meant to think something like, “Ah, yes. Physics.” Beyond that, the line between the slinkies and the glass and the bomb remains tenuous, associative at best.

Perhaps the intention is to overwhelm, to make the viewer feel small and unable to keep pace with the person whom the movie, and its source material, casts as Prometheus. I find it uncomfortable to be forced into a posture of reverence toward a man whose invention, regardless of its theoretical impact, killed hundreds of thousands of human beings. I’d rather be trusted to make up my own mind...

In the case of Oppenheimer, the one salient physics idea we need to hold onto is already there, within the noise: the chain reaction. As Oppenheimer tells Albert Einstein (Tom Conti), “When we detonate an atomic device, we might start a chain reaction that destroys the world.” This “troubling possibility” adds to the already high stakes of the Trinity explosion.

The chain reaction concept is doubly pertinent as a way to situate the Manhattan Project in the fuller context of history. Where does Oppenheimer’s culpability start and end? Is he a demigod, or is he a domino? To what degree was the bomb inevitable, with or without him, after the atom split? The presence of retired Einstein, who says, “Now it’s your turn to deal with the consequences of your achievement,” makes the frame of the story more cyclical and expansive.

Oppenheimer chafes when it uses scientific settings only as texture, when its digressions lean irrelevant, hagiographic, and intentionally showy. But when Oppenheimer lets us in on the work itself, when it lets us assess the goals, risks, and costs of the Manhattan Project, and with that knowledge, reach our own conclusions about the person in charge (that is, if are able to tune out the voices calling him things like “actually important” or “a prophet”)—that’s when the movie finds its groove. When Oppenheimer maps out a town in Los Alamos to be populated by scientists; when, using glass jars of marbles, he visualizes the amounts of uranium and plutonium that have been produced thus far; when, nonchalant, he explains the possibility of total atmospheric ignition: these moments work because of what they accentuate: the collision of the ego and the actual job.

Feynman, who is known for his work at Los Alamos as well as his contributions to the fields of quantum computing and nanotechnology, writes, “[A] kind of intense beauty that I see given to me by science is seen by so few others, by few poets and, therefore, by even fewer more ordinary people.” It is this visionary capacity that excites me most about craft movies and especially STEM movies. I want such a film to initiate me, if only for a few hours, into another way of reading the world.'

[shamyfanficfeed]

The Shell Shock Reverberation

by credencebvrebxne After witnessing a horrific event, the UK military honorably discharges Lance Corporal Sheldon Lee Cooper. He is battle scarred, traumatized, and depressed. That is, until he meets a woman who is studying the effects of shell shock working at the same university he does. Words: 2570, Chapters: 1/?, Language: English * Fandoms: The Big Bang Theory (TV) * Rating: Explicit * Warnings: Graphic Depictions Of Violence, Major Character Death, Rape/Non-Con * Categories: F/F, F/M, M/M * Characters: Sheldon Cooper, Amy Farrah Fowler, Leonard Hofstadter, Penny (Big Bang Theory), Bernadette Rostenkowski, Howard Wolowitz, Rajesh Koothrappali, Arthur Jeffries, Mary Cooper (Big Bang Theory), Missy Cooper, George Cooper Jr., Wil Wheaton, Stuart Bloom, Mrs. Wolowitz (Big Bang Theory) * Relationships: Sheldon Cooper/Amy Farrah Fowler, Leonard Hofstadter/Penny, Bernadette Rostenkowski/Howard Wolowitz * Additional Tags: Angst, Romance, World War II, Tragedy, Character Death, Major Character Injury, Whump, Post-Traumatic Stress Disorder - PTSD http://dlvr.it/SvtFgB

[howardhawkshollywoodannex]

Marc John Jeffries as Isaiah in his film debut Losing Isaiah (1993). Marc has 71 acting credits through 2023. His other notable credits include two episodes of Cosby, voices in Monsters Inc, and Stuart Little 2, Brown Sugar, Friday After Next, Charlie's Angels: Full Throttle, The Haunted Mansion, 16 episodes of The Tracy Morgan Show, Spider Man 2, Get Rich or Die Tryin, Dexter (2 episodes), Notorious, Treme (8), and Big Momma: Like Father Like Son.