You are a sociopath. :)

“Putting smiley faces at the end of every statement where you claim not be to a racist isn’t terribly convincing.” — me in LOTRO world chat

smiley-faceI try to avoid responding to obvious trolls in game world chats, but one troll in particular when called on his trollishness by others started putting smiley faces at the end of every statement “to lighten the mood”. I had to call it out for what it was. This deliberate miscommunication ploy annoys me more than overly-cheerful people using endless streams of emoticons who are sometimes equally overly-emotive in person. (The latter annoy me greatly and tend to also be morning people, annoying me even more.)

Emoticons evolved out of a real need in online communications to keep the spontaneity of chat while filling in some missing cues that might be obvious in a face-to-face or telephone conversations. My rule of thumb is to use them where I would actually emote in person, laugh or smile or make some kind of semi-rude gesture.

Lately though they are misused as a calculated form of plausible deniability, an emotional manipulation that most of the people using them couldn’t pull off in person. Imagine those emoticon-laden conversations as if they were face-to-face. Imagine that person–any person–emoting that much face-to-face and doing it immediately after saying hurtful or ignorant things. Imagine how you would react to that person. What would you think of that kind of insincere emotional manipulation?

You’d think that person is a sociopath.

Obviously online communication is different than face-to-face, but I disagree with people who characterize it as “not real life”. There are real people at the ends of both kinds of conversations, and those conversations both convey information and alter emotional states in participants. That sounds real to me.

It used to be that relatively normal people in real life would come off as rude and awkward in online conversations because they had no idea of the tone of what they were writing. Many flamewars at work and on the Internet as a whole started that way. This new behavior feels different,  like a kind of social engineering around the slack we learned to cut people because of how common online miscommunication is.

In this particular case, I think people lacking the ability to be talented sociopaths face-to-face enjoy a kind of sociopathetic liberation behind walls of text. I think we need to recognize that and treat them accordingly.

 

 

Drones Over Philly

Although I have mixed feelings about unmanned aerial vehicles as weapons or hobbies, some of the footage they produce is amazing. Here are three from the Philly area:

The first buzzes around 30th Street Station area and Center City. I particularly like the footage of the Tholian Embassy Cira Centre and the new nearby Tholian Annex Evo at Cira Center South. From the footage, I discovered the latter has a great roof deck facing west including an infinity pool.

Then there’s this footage of the Delaware Station Power Plant, an eerie abandoned industrial site north of the city that I’ve seen from afar many times. I would totally put my evil lair here if I were to go the super-villian route; those smoke-stacks would make great ICBM launchers, and I can make a classy speed-boat escape if my lair is discovered.

Finally, the Art Museum in snow is perhaps too short and misses a chance to buzz the Waterworks and boathouse row. But … because SNOW!

My Favorite #Futurama Scene

Roswell That Ends Well is Futurama at the top of its game, winning the series its first Emmy. It’s also the first time the show broke its own rule prohibiting time travel,  and it was certainly justified given the results.

How can you do sci-fi without time travel paradoxes?

You can’t.

And here’s why:

 

This particular sequence feels like an actual movie with the way it’s cut and how it handles reaction shots. One little thing I particularly enjoy is Leela’s silent, stern, disapproving stare following Fry around the last scene as his logic–even sanity–collapses around him.

Closing Night #qflixphilly 2014

qFLIX-logo-h-con-white-300x129QFlix 2014 returned to the Perlman Theater for its awards, farewells, and final film. Festivities continued afterwards at the Sofitel, but sadly without me. I do feel at least a little fested, but QFlixPhilly 2015 can’t come soon enough.

This year only jury awards were given. Not surprisingly, the musical I didn’t see won. What was a surprise is the short by Casper Andreas won its category, and even more surprisingly I agree. Rob Williams, the director of the closing night film was given the festival’s first artistic achievement award which was an all-glass affair that fortunately didn’t tumble to the floor for lack of a podium or extra hands.

A 2015 festival will likely introduce audience awards (Yay, more for me to disagree with!) but perhaps only via electronic ballot. While I would love to be able to schedule electronically, there is a sentimental physicality I’d miss if paper ballots are completely eliminated. If magazine-quality programs and dealing with paper ballots is the difference between having a festival or not, I suppose I’ll get over it. Perhaps that even creates a way for me to contribute to the production of the festival without having to give up the uninterrupted enjoyment of it.

The post-film Q&A took an unexpected turn towards the end as people started directing questions at Thom Cardwell about the state of QFest, its relationship to QFLix, and the future of both. Cardwell was diplomatic and kept it fact-based regarding QFest and TLA which “got” the gay festival in its break-up with what is now PFS. Given how scant those facts are, we were all left wondering what the future of gay film in Philadelphia will be.

REVIEWS

Out To Kill (2/5)

An homage to mystery/thrillers, Out To Kill falls into a few traps common to the genre and to gay indie film–and to the previously-screened A Dark Place. The genre demands a tighter plot and better balance between show and tell (and explain). The cast is all over the place, and most of the dialog throughout the film doesn’t feel natural. This may be a logistical consequence of a nine-day shoot or direction issues given Tiger Orange lead Mark Strano turns in a much less impressive performance here than the other film. There are some nicely quirky moments, and nothing here would stop me from seeing festival-regular Williams’s next film.

A Last Farewell (5/5)

I can’t say I’ve been a huge fan of Casper Andreas’s other works, but this short about a gay widower coming to terms with his husband’s death is a surprising and welcome stretch for Andreas. Made in his home country of Sweden with established local talent helps. This is a serious, tight piece; I wonder if the constraint of the short form gave Andreas the focus some of his full-length features have lacked.

Perhaps like his subjects, Andreas has matured in his art–and in his person! He has been enough of a regular attendee at our festivals that it feels like I’ve watched him grow up over the years, and the years are being kind to him.

His next film, Kiss Me, Kill Me is also in the mystery/thriller genre which this year has proven to be a challenging endeavor. Although portrayed this year as a new direction in gay Indie film, it’s not. I’d suggest looking back at the Stachey films of the mid 2000s for both prior art and inspiration.  Then look further back to 1998 festival favorite of mine, Hard, which apparently I can watch for free through Amazon Prime.  After turning down the lights. And making some popcorn that is.  And getting out the handcuffs!

Day Three #qflixphilly 2014

qFLIX-logo-h-con-white-300x129The third day got off to a late start. My daydream the day before about attending the 10am panel (and catered breakfast) gave way to real dreams and a late morning start. And by late morning on a weekend day I mean 1pm.  By the time I was festival ready, the schedule was against me with a musical and a documentary about a Gay Jesus play. Blech.

It’s an unfortunate fact that fewer venues in a shorter festival makes being a badge-holder a little riskier. I’m still glad I did it that way because I can’t imagine doing the individual ticket thing. Especially on days those “late morning” days I inevitably have during festivals.

One particular problem I have with the festival being back at the Prince is the horrible effect it has on my diet. Since the pantry’s bare, I’ve had a hard time resisting Wendy’s and Five Guys which are both less than a block from the theater.  And now it’s even worse. There is a Popeye’s a few doors down from the Staples on Chestnut. I particularly cannot resist the cinnamon-crusted deep-fried apple pies.  And resist I did not.

REVIEWS

Easy Abbey (2/5)

There are plenty of good moments around the lead character’s romantic antics, but the over-crowded cast and odd bumps of women walking towards/past the camera made for a disconnected experience. — It turns out this is a web series edited into a movie, and what I didn’t like about it–a lack of “movieness”–was never a goal of its original production. This seems to be problematic of the repurposing into feature film format. Short films made into features are completely reshot; is that going to be necessary to transition episodic new media as well?

Affinity (4/5)

This Philly-produced short played before Easy Abbey and is a great example of why I love short film, but I can’t go into details because it depends on its deftly-handled twist. Scored local points for a scene at my beloved Race Street Pier Park.

Tiger Orange (5/5)

Despite some warning signs, Tiger Orange turned out to be an excellent old-school indie film about two estranged gay brothers reconciling.  One warning sign, a porn star in the cast, turned out to be one of the films best assets. Frankie Valenti (aka Johnny Hazzard) does bear his “assets” a few times, but also turns in a believable performance that may have benefited from a few similarities between him and his character. This is a well-constructed, understated film that kept my attention and kept me interested in its characters.

Age of Consent (2/5)

This documentary is a bit about The Hoist in London and a bit about LGBT rights in the UK. It had some interesting facts and some interesting men doing some interesting things, but overall it floundered. One thing that didn’t work is the pornographic sequences filmed in the club playing beneath a Queens-English accented discussion of 500 years of British laws around buggery and immoral houses. Probably it’s bigger problem is a lack of narration. While many of the interviews are good, the tend to ramble and could have been edited down with some minimal narration to summarize and contextualize.

Day Two #qflixphilly 2014

qFLIX-logo-h-con-white-300x129It was a good-and-bad kind of day.

GOOD: Enjoying dinner and dessert outside More Than Just Ice Cream with a festival friend.

BAD: Chris Christie emerging from More Than Just Ice Cream while we’re eating.  Details are sketchy, but he was meeting with some Philly politico.  I hope the meeting when badly for both of them. If I were better connected, I’d have called ahead and had him greeted at the Delaware with a little Bridge Backup of his own.

BAD: I missed the showing of F(l)ag Football.  My dream of perfect attendance, even in this shortened festival, has been dashed.

GOOD: I got to talk about Jira and Spring and Hibernate and work/geek stuff with my festival friend while having a waffle covered in scoops of chocolate, chocolate peanut butter, and chocolate banana ice creams.

REVIEWS

Pride (4/5)

A comedic retelling of the strange bedfellows alliance formed in the mid eighties between striking Welsh minors and London gay activists has lots going for it: pacing, performances, writing, even the balance of comedy and drama to heighten both–AND a brief appearance by Russell Tovey and his adorable ears.. There are a few moments where it feels after-school special, but that’s forgivable.

The Dark Place (1/5)

The crime/mystery format is a particularly unforgiving place for a plot lacking coherence or characters behaving believably or that telegraphs its punches; The Dark Place struggles with these things and more.  Non-metaphorical punches are a good example of this; the actors just can’t sell it when they’re “hitting” each other. Some interesting angles never get played, like building a convincing sense that the lead is slipping into insanity and may be hallucinating events or actually perpetrating them.

Campaign of Hate: Russia and Gay Propaganda (4/5)

After his love letter to Gay Israel last year, Michael Lucas returned with a new documentary that’s more of a nastygram. Interviews with LGBT activists in Russia or who have fled Russia are uniformly good, but Lucas, king of a gay porn empire, interviewing Vitaly Milonav, the author of the gay propaganda law, borders on surreal.

Lucas attended and was as interesting and even grimmer in the Q&A afterwards. The film’s subjects were by no means all rainbows and unicorns, but to Lucas’s credit he documented what may be the small fantasies people in such dire straits must tell themselves without commenting against it. His closing thoughts included that gays in Russia are getting a breather right now while Russian turns it’s Petty Hate Machine on Ukraine and that gay Russians are as caught up as any other Russian in the nationalist, anti-West frenzy that Putin’s engineered.

Saugatuck Cures (2/5)

A weak third act and lighting problems hamstring this comedy that otherwise had interesting characters and heart.  I almost have a reason to watch glee in the adorable Max Alder who attended the screening. It might have done a little better if it had followed something less, well, Russian.