#my current and previous church have done neither of those things and they are reformed baptist

[thisbibliomaniac]

I understand paedobaptists arguing that paedobaptism is indeed biblical when baptists claim that it's not, even if I don't agree. What I don't understand is them coming at us with "oh yeah?! Well I went to a Baptist church once that did something I consider unbiblical!" (even though in most cases it's extrabiblical at best) as if

1) I have to answer for any church other than my own (I don't)

2) one church's incorrect doctrine makes another's okay (it doesn't)

I usually respond with "You're right, you shouldn't do either of those things"

[alistonjdrake]

June’s World Building Cheat Sheet Part Eight: I Didn’t Vote For You

*At least I think it’s part eight and it’s actually been five months since my last relevant post!

I’m kind of ashamed this didn’t occur to me when I was writing my first group of world building posts. It’s something I think about constantly in the genre I write and something I’ve definitely noticed other people struggle with because to some it’s not something that seems immediately apparent or like it needs to be fleshed out. 

What am I talking about?

When I first started sharing my fantasy stories online one of the most popular plots for other people in, near, and around my social circle was the story of the rebellion. Whether it’s the rebel princess or the dashing fugitive someone in these stories was always rebelling. I can understand why. Revolution is a pretty compelling story. However it was never clear what they were rebelling for, what they were rebelling against (besides a vague “monarchy” or something similar), and most importantly what they were going to do/reform if they won. 

That’s right people, buckle in we’re taking a deep dive into politics.

What is a Political Ideology?

In part five of this series I did go over creating political divides a little but that was mostly focused on a much larger scope (like nation vs nation). And while nation vs nation can still apply here we’re gonna be looking more at creating parties and ideology. So first, let’s borrow from wikipedia and answer this header question. 

In social studies, a political ideology is a certain set of ethical ideals, principles, doctrines, myths or symbols of a social movement, institution, class or large group that explains how society should work and offers some political and cultural blueprint for a certain social order.

Okay I know that may sound like a tall order so let’s break that down.

So what are politics? Politics are the activities associated with the governance of a country. So think of some of the things mentioned in my previous political post like ensuring clean water or sanitation needs (if that becomes a government responsibility in your setting). Now I know in that post I mentioned disagreements and what people would argue over and when forming a political party that is exactly how you should think about it. Take one of those governing activities and think of ways people would either debate or completely disagree over how or why it should be done. 

I tend to work backwards when it comes to this. To put it simply, and in terms of my own writing, Valera came before the Rusnaks. 

In my setting the “Rusnaks” are a defined ideology and party that exists throughout the continents, named after the man credited for either creating it or popularizing it for the masses. But the character Valera who first shows up in the stories is what I used to create the ideology before I gave it a backstory and more defined characteristics. It was easy to do it this way for me because Valera, at his core, was meant to be the complete opposite of the “norm” presented in the rest of the setting. As most of the characters are nobility, he was not. Most of the characters came from a very privileged background, he did not. Most of the characters were either allied with or had appreciation to faith and the church, he did not. 

When creating a rebel (or a rebellion to back them) it’s not enough to say they simply don’t like the monarchy. Why? What are their specific grievances with the current system in place? Much ideology sometimes comes in the space of a need that isn’t being fulfilled. What does this group plan to accomplish and if they are successful, how do they hope to change the system they dislike?  

On the other side, the opposing system should also be fleshed out, especially in settings when the government is said to be supremely powerful and oppressive and yet readers are never really told what the people in power want. Political parties have an agenda. They have a goal in mind. It’s good to say there’s an disagreement present but it’s not really a fleshed out argument if neither side seems to know what they’ll do if they win. 

Take it in pieces. Nothing that isn’t relevant should very grace the page but if your story has anything to do with politics like mine, there are probably certain issues the characters are aware of and may want to address. Use those issues that are already affecting the plot to expand on the ideologies that may be present/influencing the world they live in. 

A member of the royal family in my book is always aware and wary of growing support of Rusnak parties since one of their goals is to get rid of monarchy. A local lord might pay more attention to his charitable works and support of the public if he knows a local group is growing loud over class injustice. 

Agree to Disagree 

So I’ve started to touch on these points a little but I’m just gonna hammer them in some more. This, for the most part, is what I look at when grouping together political stances in my settings to create an ideology or party. Now, in the case that this party exists as a reaction to a system that’s in place my first question is usually:

What is their problem with this?

In fairness, this is not always the most basic question to answer but yeah, what is it? They live in a dystopian world or they’re fantasy peasants who don’t like their liege. Okay, but what specifically? What are their grievances? Is it a lack of representation for a certain group in the governing party (i.e voting rights or elected positions)? Is it the distribution of wealth (or lack thereof)? Are they mad because their local government hasn’t fixed the main road in a while? Is it not the government as a whole but just who is currently in charge of it?

What is their proposed solution?

You have a problem, now how do they want to fix it? Usually my problem with so many rebellion stories is the solution is “they want to get rid of the monarchy” and okay, then what? What do they want to replace it with? because multiple groups can stem from that vague statement and have completely different ideas of what they should do in the aftermath. 

What influenced them?

It had to stem from somewhere. As a collective did they wake up one day and suddenly realize they had different ideas than other people? Did they read a book they agreed with? Did another movement suddenly spark the growth and spread of people to sprout different ideologies (let us go back to the Enlightenment)? Did the advancement of society allow for the birth of a new class or different types of people joining an old one (and thus their needs changed)?

Hopefully by now you have a basic outline. At every point, it’s fun (and probably helpful for the setting) to think about why someone would oppose this when creating a group. Personally I think it’s very easy to make one group abundantly right and the other very wrong (usually in the case of dystopian governments) but it’s important to remember as readers we’re supposed to believe these groups gained popularity. That something about it as charming enough to get people on board and they supported it. What about it drew people in that no one has rebelled before or that other fractions have been largely unpopular or unsuccessful. 

To tie a bow on it, if you think about politics in your setting as problem solving it should become easier to come up with different ideas as to how to solve that problem. Those solutions can serve as the basis for the different ideologies or political parties present either among your characters or just in the background to give that world that lovely, June-approved, lived in feel. 

[nzenuniverse-blog]

At What Time Do Black Lives Matter?

At what time do Black Lives Matter? Is it at 7:05 pm on April 4, 1968 when MLK Jr is pronounced dead from the bullet of his assassination? Is it at noon on August 28,1963 when the “I Have A Dream” speech came into being? Is it Saturday, June 6, 2015 at 12:15 pm when Kalief Browder lynches himself in the Bronx? Is it at 2:53 in the afternoon when Michelle Obama announces the Global Girls Alliance? Is it at 3:30 during an Alamo siesta on February 5, 2016 when Tidal X: 10/20 makes its proclamation of a 1.5 million dollar donation to the Black Lives Matter movement to commemorate Trayvon Martin?

Black faces like those mutilated like Emmett Till. Black voices that guide us through the depths of Inner City Blues. Black is the color of her kinky hair.

So when in this time where Black-ish breathes new life into the family Huxtable, where we are little more than one week a way from seeing a renewal in fervor over this generations’ question of the Ballot or the Bullet, do Black Lives Matter?

It has been 54 years since Malcolm X spoke the words “We have made a greater sacrifice than anybody who’s standing up in America today.” to the congregation wedged in the dusty pews of Cory Methodist Church in Cleveland, Ohio. Within those five decades since, the shift in societal behavior in regards to the thought constructs of race and how those thoughts manifest outwardly, in policy, in economics, in daily interactions has been radical. Though, to anyone of moral conscience, this notion of radicalism belies the nascent complexity of the problem. The idea that black business, black  leaders, black excellence of any cultural vanguard is novel, should have always been. So, the question as to at what point do Black Lives Matter is inherent to the insult that at any point they did not matter.

The fact that it is no longer novel to have a black face like that of Frederick Douglass or Van Jones deliver commentary on the state of our culture on our television screens and mobile devices is essential to the progress of global societal consciousness. To think of ourselves as one human race. This maybe one reason why acclaimed civil rights activist, DeRay McKesson, describes how the Black Lives Matter movement is leaderless by design to prolific comic and tv host Sarah Silverman in an interview from her television program “I Love You America” dated from October of last year. When the black face becomes commonplace in the world of business, arts, and politics it allows for the disassociation of ideas of individuals from the colors of their skins. This maybe one reason why Kanye West has chosen this moment to stage several media events to challenge and provoke the conversation of how and why Black Lives Matter through incendiary commentary and planned promotional campaigns.

For example, maybe Ye in his recent visit on October 14 to meet with the Ugandan President Museveni was making allusion to the hip hop song by Brother Ali “Forest Whitaker” and The Last King Of Scotland. Do those Black Lives lost in the genocide Matter ? Could it be that in his infamous repugnant statements made on TMZ in May of 2018, where he claimed that slavery was a choice, that he is inviting deeper thought as to the obviousness of how it was not a choice and the psychology of clickbait tactics? If, as according to physicist James Joule writing in the 19th century, how by the Law of Conservation of Energy, that energy can neither be created nor destroyed; rather, it transforms from one form to another, then where does all the hatred of Bull Connor and George Wallace go? Maybe that is what Kanye was referring to when he claimed to have the balls to where a hat in a recent luncheon with President Trump and Jim Brown. Could it be that Kanye was provoking deeper thought as to what it means to be wearing hatred like blacks did daily. Is it still done daily?

Maybe in an age where it’s increasingly difficult to do anything radical unless you are tackling the most deeply entrenched societal taboos like sex work, West is proving the physical manifestation of clickbait marketing culture; proving himself a savvy entrepreneur in the branding battles of the internet and influencer economies. These questions as to the talented tenth of intent weren’t possible in the sixties because the idea of black leadership, business, arts and culture was so “novel” to racist society. It is important to remember that when thinking about the variety of thoughts currently circulating in the Black Lives Matter and black excellence conversations.

In thinking again about correlations to the transference of emotional energy and the Law of Conservation of Energy, it is possible that West is influenced by having watched the excellent Serious Jibber Jabber talk from August of 2014 between heralded author Michael Lewis and legendary late night tv host Conan O’Brien. When Michael Lewis, author of “Flashboys” and “Moneyball”, references “The Structure of Scientific Revolutions” by Thomas Kuhn in stating “a disruptive entrepreneur is inherently insulting” it is similar to things West discusses in his nearly two hour interview held on April 18, 2018 with popular radio host Charlamagne tha God, where he states that people will take something enlightened out of context and call it crazy to diminish its impact. In both talks, the men reiterate points about how when there are those who are the first to see things in a new way and pioneer a view that is threatening to the status quo, the surrounding industry reacts with great hostility. Dave Chappelle, who recently received the WEB du Bois award from Harvard University, made similar comments in his famous Inside the Actors Studio interview with James Lipton nearly a decade earlier.

If the Wall Street system is rigged as Lewis so brilliantly lays out in his treatise, then all colors are disenfranchised in the war against class. And West is right to point out the hypocrisy of the black community to be automatically anti-Republican. It is possible that West is taking a page from his wife’s book here as she has brilliantly embodied the Republican tenets of family first, the creation of generational wealth and rugged individualism. I think in an indirect way her genius as an entrepreneur is progress in the war against sexism in challenging the deeply held taboos against sex work. The manner in which she annually compounds her wealth through successfully monetizing and marketing her beauty is testament to her vast business savvy, instinct and skill, so much so that it renders irrelevant the tarnish of a tape, which by any means of an abstract, rational moral philosophy is hypocritical to judge if she is meeting the laissez-faire of demand meeting supply.  

Furthermore, in her advocacy for prison reform and the freedom of Alice Marie Johnson, I think she is finding her own way to participate in the concept of a “noblesse oblige”, an idea Lewis offers as an antidote to what he labels as the “vice of meritocracy.” The vice of meritocracy being a problem of modernity in the stratification of the classes as a function relative to the notion of effort, whereas in previous times, he argues, those born of privilege came into their wealth with a sense of that duality of advantage and a need to pass those advantages on to others. I think Republicans are good at communicating to its constituents “Focus your energy on the problem you want to solve and do it.” I think this is the reason why, despite the moral repugnancy of what he is seemingly corroborating in his meeting with Trump, etc., that ultimately, it is a good thing for West to highlight the dangers of limitation in maintaining a sense of automatic anti-Republicanism in the black community.

In closing, as the Ballot or the Bullet of the 2018 midterms approach, I question if anything continues to be more segregationist than a seeming conspiracy of consensus towards the segregation of intellectual class by means of coding and lexicon in promoting systemic ignorance. That silence of the methods of the money changers is a taboo I’d like to see change in 2019. And so time marches on. The first time I saw the black excellence of “sky is the limit” music video in my early teens, I thought how sweet, how cute, the children of hip hop running through their fantasy of everything they dream they can be and become. It was only in my late 20s that I began to recognize that maybe Spike Jonze was having a conversation with Biggie Smalls, Puff Daddy and 112 about some of the tougher issues limiting the growth of black culture: the historic infantilization of blacks as a means of degrading their intelligence, the over-commercialization of rap as a means to foster mental pollution through vapid consumerism, and the thought that for hip hop to survive as a musical movement it has to grow from adolescence but since, well since a long time, America has been like a drunk seventeen year old racing around in the world’s Mercedes Benz while we all just wait for the inevitable crash.

[weekendwarriorblog]

WHAT TO WATCH THIS WEEKEND – MAY 18

After a couple slower weekends with no new movies grossing more than $20 million, we get the second doozy of a summer sequel in Fox’s Deadpool 2, which will try to recapture the magic of the 2016 movie that became one of Fox’s biggest hits to date, just behind Avatar and a couple of the Star Wars prequels. So let’s get to that one first…

DEADPOOL 2 (Fox)

The second big release of the summer is this sequel to the action-comedy that grossed

$363 million domestically after opening with $132 million over the Presidents Day weekend in 2016. The original Deadpool was quite an eye opener for Fox and other studios, because it was the first absolutely ginormous R-rated blockbuster in quite some time, and it was only one of three R-rated movies to gross over $300 million.  That success helped pave the way for Fox to allow filmmaker James Mangold to make the R-rated Logan, which would become the highest-grossing spin-off from the X-Men franchise after Deadpool with $226 million. What do we learn from this lesson? Superhero movies are still frequented by 17 to 34 year old males who don’t like their action watered down.

Ryan Reynolds had been talking about playing Deadpool for years, but his appearance in X-Men Origins: Wolverine was a disappointment for the fans of the character.  Undaunted, Reynolds continued to push to get an R-rated Deadpool movie made, teaming with Zombieland creators Rhett Reese and Paul Wernick to write and produce Deadpool. That drive to make the movie proved wise, and that writing team has been reunited for the sequel, joined by director David Leitch, who directed the first John Wick movie and last year’s Atomic Blonde.  (Leitch is also attached to direct the Fast and Furious spin-off starring Dwayne Johnson and Jason Statham’s Hobbs and Shaw.)

Besides changing many minds in Hollywood about R-rated fare, Deadpool really turned things around for Reynolds who had been floundering after the back-to-back disappointments of X-Men Origins and Green Lantern, although the former did considerably better than the latter. Reynolds still had a few hits after that including the action-thriller Safe House with Denzel Washington and the DreamWorks Animation family film The Croods, but there were some definite misfires. R.I.P.D. was one of the bigger ones, an expensive FX movie that grossed just $33 million, an amount that was actually pretty good for his drama Woman in Gold with Helen Mirren. Self/Less and Criminal both bombed, and sadly, the excellent Mississippi Grind, directed by Ryan Fleck and Anna Boden of next year’s Captain Marvel, didn’t get much theatrical attention. 2016’s Deadpooldoubled the domestic gross of Reynold’s biggest previous film, and that might have helped his 2017 action-comedy The Hitman’s Bodyguardwith Samuel L. Jackson, which grossed $75 million after a $21 million opening, based on a $30 million budget. It definitely seems like Deadpoolhas made Reynolds a bankable star once again.

As you can read in my review, I really enjoyed the movie, and reviews have generally been decentfor a non-Marvel comic book movie, and that will help drive up the excitement for this event movie that could see it bringing in $20 million or more in Thursday previews and probably $60 million or more when that’s compiled into Friday’s box office.

Deadpool 2 is opening in 4,332 theaters, which is the widest release for an R-rated film, which is no surprise, because Fox’s marketing has really been on point, driving up anticipation for the movie that should help it gross $150 million or more this weekend. Earlier in the summer, I thought it might open even bigger but had to bring my expectations down to something more realistic.

And that just leaves us with the week’s Deadpool 2 counter-programming…

BOOK CLUB (Paramount)

Somewhat of an anomaly in terms of counter-programming is this comedy from Paramount that is targeted specifically towards the older women who were probably out in force last Sunday for Mother’s Day. This one stars Jane Fonda, Diane Keaton, Candice Bergen and Mary Steenburgen, so if you’re a woman over 50, this probably is your Avengers: Infinity War.  

It’s the feature film debut of Bill Holderman, who made the film independently before Paramount decided to get behind it, which will probably end up being a wise move since there’s so few movies for women over the next month.  Sure, there’s last week’s Life of the Party and Breaking In, but neither movie received decent reviews or audience ratings, so they probably will fall away, and this film’s warm and fuzzy story about older women finding their sexuality through reading E.L. James’ Fifty Shades of Grey might seem like a solid bet. (No, I have no idea why Universal, who made the movies based on James’ books, didn’t pick this one up for a possible DVD box set somewhere down the line.)

It’s odd that this movie didn’t open over Mother’s Day weekend, as it might have done very well, but it’s still in pretty good shape to make around $10 million depending on whether the cast gets out there for talk shows, which they seem to be doing. Essentially, it’s up for third place against last week’s openers Breaking In andLife of the Party with Global Road’s family film Show Dogs acting as a possible surprise spoiler.

SHOW DOGS (Global Road)

In a summer that’s surprisingly devoid of family and kids films, Global Road will try to get in one more family film before Disney-Pixar’sThe Incredibles 2next month. This one involves talking dogs (always popular with the kiddies), and it’s directed by Raja Gosnell (Big Momma’s House, The Smurfs), who has a lot of experience with talking dogs between Scooby-Dooand Beverly Hills Chihuahua, both which were huge hits.

There’s certainly a young audience out there for Show Dogs, which features Will Arnett and the voices of Alan Cumming, Stanley Tucci, Gabriel Iglesias (who seems to do more voice work than actual acting), Ludacris and Shaquille O’Neal, as well as Rupaul and Natasha Lyonne, which might make this the craziest cast ever put together for a family film. (Maybe second to Disney’s G-Force?)

Even though the fledgling Global Road (formerly Open Road) is releasing the movie into over 3,100 theaters, there just doesn’t seem to be much buzz around the movie, so business might be spread out thinly among them, but who knows? The only thing even remotely approaching a “family friendly” film are the two Marvel movies currently in theaters, and there’s a definite vacuum at a time when family films could thrive. Even so, Show Dogs– not to be confused with the Cuba Gooding Jr. hit Snow Dogs-- is likely to end up with between $8 and 9 million, but I wouldn’t be surprised if it explodes with the weather getting warmer and bored kids needing something to do. (Or rather, parents needing something to keep those bored kids entertained.)

POPE FRANCIS: A MAN OF HIS WORD (Focus Features)

Opening moderately into 350 theaters is this new doc by Wim Wenders about the current pope, which is more about following him around on his day-to-day then telling his life story. It premiered at the Cannes Film Festival over a year ago, but Focus picked it up as part of their recent incentive to release more docs. (They also have the Mr. Rogers doc Won’t You Be My Neighborcoming out next month.) Depending on whether the Catholic Church backs the movie and helps promote it might help determine how well it does, but I think an opening between $1 and 2 million is doable, putting it somewhere in the bottom of the top 10 or just outside with Magnolia’s RBG, which will expand into the same number of theaters. (I was supposed to see this on Monday but flaked out on the screening, though I’ll be making up for it on Thursday night at a special preview screening, so I might have some thoughts later this week.)

This week’s Top 10 should look something like this…

1. Deadpool 2 (20thCentury Fox) - $153.2 million N/A 

2. Avengers: Infinity War (Disney/Marvel) - $29 million -53%

3. Book Club (Paramount) - $9.2 million N/A

4. Breaking In (Universal) - $8.8 million-50%

5. Life of the Party (New Line / WB) - $8.4 million -54%

6. Show Dogs (Global Road) - $8.1 million N/A

7. Overboard (MGM/Pantelion) - $5.5 million -45% 8. A Quiet Place (Paramount) - $4.2 million -35%

9. I Feel Pretty (STXfilms) - $2 million -38%

10. Rampage (New Line / WB) - $1.6 million -56%

-- Pope Francis: A Man of His Word (Focus) - $1.5 million N/A

LIMITED RELEASES

For those who aren’t quite religious enough to see a Pope Francis doc but still want to alleviate any post-Easter guilt, there’s Paul Schrader’s excellent dramatic thriller First Reformed (A24), starring Ethan Hawke as a Catholic pastor who runs the First Reformed Church in Upstate New York that’s getting ready to celebrate its 200thanniversary. When he meets a young pregnant woman (Amanda Seyfried) whose husband is having issues, he throws himself into helping them, but things get dramatically worse as he gets involved. I’ve been hit or miss on Schrader’s films in recent years, but First Reformed is his best movie in a very long time. It’s definitely a slow build of a movie, but the tension Schrader creates building up to the amazing ending makes me want to see it again.

I can also recommend Dominic Cooke’s On Chesil Beach (Bleecker Street), a period drama starring Saoirse Ronan and Billy Howle (both of whom appeared in last week’s The Seagull), which is an adaptation of Ian McEwan’s novel of the same name. The young actors play Florence and Edward, two youngsters who meet and fall in love, but whose wedding night is disastrous, to say the least. We watch the two on their wedding night with flashbacks to when they first meet, and it’s a pretty heavy-duty drama, rather difficult to watch at times, but Ronan and Howle are amazing in it.

Jim Carrey stars in Alexandros Avranas’ thriller Dark Crimes (Saban Films), playing a police officer named Tadek who begins to similarities between an unsolved murder and a crime from a book by writer Krystov Kozlov (Marton Czokas), so he begins tracking the writer and his sex-club worker girlfriend (Charlotte Gainsbourg). Carrey is kind of mixed when playing non-comedic roles, but this is also his first starring role in a feature in a very long time, so maybe it’s worth a look? It opens in select cities and will be On Demand after a month-long run on DirecTV.

Göran (The Black Power Mixtape 1967-1975) Olsson’s doc That Summer (IFC Films) acts as a prequel to the Maysles’ iconic documentary Grey Gardens, as it assembles some never-before-seen footage of Edith and Edie Beale and their Long Island home, which once saw the likes of Andy Warhol, Mick Jagger and Truman Capote pass through it.

Another intriguing doc is Saving Brinton (Northland Films), a portrait of Mike Zahs, an eccentric Iowa collector who discovers a number of rare showreels from William Franklin Brinton, including footage of Teddy Roosevelt and some of Georges Melies’ early work, part of the collection of moving pictures that Brinton brought to the Heartland.

The Hollow Child is a supernatural thriller from Jeremy Lutter (Reset), which Vertical Entertainment just picked up out of Cannes last week. It stars Jessica McLeod as troubled teen Samantha who wants to expose a supernatural imposter and rescue her foster sister. Here’s an intriguing trailer for it:

I’m kind of intrigued by Champion, the Korean arm-wrestling movie being released by Well Go USA and starring Ma Dong-seok (Train to Busan). It’s the feature debut of director Kim Yong-wan, and it’s a sports comedy (influenced by Sylvester Stallone’s Over the Top) about a Korean adoptee who becomes an arm wrestling champion. It is also opening almost a year to the date of ANOTHER movie called Champion. Go figure.

Apparently Matthew Portfield’s narrative Soller’s Point (Oscilloscope) already opened in Baltimore last weekend, but it opens in New York this Friday and L.A. on May 25. It stars McCaul Lombardi as Keith, a 24-year-old living with his father (Jim Belushi) on house arrest in Baltimore after his release from prison as he tries to create a new life. It also stars Deadpool 2’s Zazie Beetz, so if you’re in New York, you can do a double feature!

Ian (King Corn) Cherney’s doc The Most Unknown (Abramorama / Motherboard) is an experiment which follows a group of scientists as they explore new fields and places, and it’s probably no surprise that filmmaker Werner Herzog was an advisor on the film being that it crosses over with his own interests in science.

Netflix has a really great movie streaming this weekend called Cargo, an Australian post-Apocalyptic film starring Martin Freeman, which I saw at the Tribeca Film Festival. Directed by Ben Howling and Yolanda Ramke, this is an amazing film set in the Australian Outback that’s so different from The Walking Deadand all the other zombie movies being made in its wake. Like the show, it does deal more with the living than the dead, but it has such an interesting array of characters. You can read more about it in my Tribeca mini-review here.

Netflix is also offering the South-African romantic dramedy Catching Feelings from Kagiso Lediga (who also stars in the film), which I know absolutely nothing about.

Me? I’ll probably be spending most of my weekend at the Metrograph, seeing the movies in the Sylvia Chang retrospective, some more Kubrick, Hitchcock’s The Birdsand Ghost Dogfrom Jim Jarmusch.