Will the Secretary of State look back in history and see what happens to legislation that gets pushed through the House quickly, without consultation? It looks as though we could push some measure through – perhaps there will be a little stitch-up between the three Front-Bench teams – but out there, ordinary people, many of whom have only begun to realise the repercussions of the Bill, will feel totally let down by Parliament, just before a general election.
-Kate Hoey MP, House of Commons debate on the Digital Economy Bill
She is, of course, absolutely right. But she also puts me in a difficult position in that I have no desire to see the current Labour Government re-elected but, locally, she is exactly the sort of rebel MP — willing routinely to vote against her party when appropriate — that I wholeheartedly support. The party political system irritates me more each year.
You already know I support good 3D cinema and deplore poor, “cash in” 3D. The latest culprit is Clash of the Titans in which the post-production 3D was shoehorned in even less time than Alice in Wonderland. Critics have universally slated the 3D elements as greatly detracting from an otherwise — well — average film. What effect this will have on consumer tastes is uncertain since Titans certainly made a lot of money.
This all made me rather curious about the discovery that the fourth Resident Evil film (it’s become quite the franchise), Afterlife, is in 3D. Which sounds awful. Except that it’s been done properly from scratch, utilising the Fusion camera system pioneered by James Cameron. The quality of the film itself is still up in the air: I consider the first one fun videogame fluff, the second awful, and the third a surprisingly impressive atmospheric post-apocalyptic ride. I’m happy to let curiosity get the better of me when this one breaks out.
I don’t often embed videos here, but this is a rather pretty “trailer” for the forthcoming Charles Vess illustrated book of Neil Gaiman’s poem Instructions from his Fragile Things collection. It’s actually Neil reading the entire poem with an animated version of Vess’ artwork.
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