With the Sony a7s IV nowhere to be seen, and a Sony FX2 with disappointing specs and an old sensor, Sony’s failure to go fully-in on video features have left users in the lurch. Now, with rival cameras like the Nikon Zr and Canon EOS R6 III offering so much more than an a7 V, for less money, Sony is building the perception that hybrid users and video shooters shouldn’t choose a Sony mirrorless camera.

From my personal point of view the Sony a7v is a very capable camera, but it in recent days the new model has become somewhat infamous and the target for a lot of disappointment from video users.

The competition has not just overtaken, it’s undercut on price.

Sony will hate this, the hybrid video/stills market is very important and Sony pioneered it, overtaking the previous leaders Canon (in the DSLR era) and Panasonic. Now the others (especially Nikon) are fighting back.

Now I’m not suggesting Sony is afraid of Panasonic grabbing all their video users, but they should be worried about what Canon and Nikon are doing.

Canon lost the crown back in the DSLR days and then decided to get those users back, starting with the EOS R5 which blew other cameras away for video specs only to prove itself to be completely defective in the field. Canon decided to un-cripple it with subsequent firmware updates for longer operation times. Ever since then Canon have been full-on chasing hybrid shooters, at all price ranges starting with the cheap EOS R50V, all the way to the Cinema EOS C50. Inbetween there is the R6 Mark III which shoots 7K Canon RAW internally with an Open Gate mode, for $2799. An aggressive move, that Sony didn’t seem to see coming.

Then there’s the Nikon Z6 Mark III for $2096 and the Nikon Zr, just $2196. These are the current best-bang-for-buck cameras, taking the limelight away from Panasonic. Sony is trying to get $2899 for something which is comprehensively worse for video than these cameras. The a7v counts on people being photography-first, and locked into the mount. Both of Nikon’s cameras shoot 6K RAW, and the Zr benefits from the purchase of RED being the first mirrorless camera to shoot REDcode raw.

And it is not just the headline resolution and raw capabilities lacking at Sony, the other missing video features are really starting to add up.

1. The Canon EOS R6 III for example doesn’t need to crop in 4K/120p.
2. The Nikon Zr has a larger than 3.2″ display, at 4 inches, and it makes a significant difference.
3. Taking a leaf out of Panasonic’s book with the GH7, the Nikon Zf has 32bit float audio support.
4. Both the R6 III and Zr have open gate modes.
5. The Panasonic S1R II and S1 II have anamorphic de-squeeze and multiple recording aspect ratios like 3:2 and 4:3.
6. The Panasonic cameras also have the best LUT support, and Realtime LUTs allow custom 10bit colour science to be baked into both video recordings and photos.
7. Cine EI is available on the Nikon Zr in REDcode raw.
8. 60fps is available without a crop in 6K and in 7K on the Nikon and Canon cameras, whereas most of the Sony cameras even the flagship a1 are only able to max out at 4K in 60fps and on many models this is less detailed pixel-binning mode rather than a full pixel readout.
9. There’s more shooting aids on the Canon, Nikon and Panasonic side too, like waveform monitoring.

So Sony find themselves in a bit of an odd place and that’s before I mention the Sony FX2 sales disaster.

This is a camera that has already put back some of the missing features from the list above. It has the extra shooting aids, the best LUT support of the Sony cameras, many of the features found in the FX3, including anamorphic de-squeeze, Cine EI, and a form factor closer to the Nikon Zr.

The Sony FX2 however has not sold very well, to say the least and that’s because Sony put the old sensor from the a7 IV in it. It can’t even do full frame 4K/60p without a crop and yet is marketed as a modern hybrid camera. It has no anamorphic aspect ratio mode like 3:2 or 4:3, despite having a 2x anamorphic de-squeeze mode for monitoring! It has no Open Gate mode and the maximum resolution is 4K. It has the same middle-of-the-road rolling shutter performance as the 3 year old a7 IV and there is still no internal RAW codec, not even on the Sony a9 III with the global shutter sensor, or the $7000 Sony a1 II – only uncompressed raw via HDMI. To top it off the FX2 has no 120fps in 4K at all, not even a crop – only 1080p (what year is it, 2018?)

The FX2 then, is one of those rare failures from Sony in terms of sales despite the fact I personally actually really like it for my own needs. It’s laudable for being the only mirrorless camera with a cine body that features both a mechanical shutter and articulated EVF (does it think it’s a Panasonic GX9?) whereas the Zr has neither.

So there’s trouble brewing for Sony.

Their direct Nikon Zr competitor the FX2 is in many ways already outdated, more expensive and basically dead on arrival. The lack of sales back that up.

Their Cinema EOS C50 competitor the FX3 has a 6 year old 12 megapixel sensor, no raw codec, no open gate, no 6K, no 7K, no 8K and owes most of its popularity to a feature film.

Their high resolution a7r V is a stills camera with a video mode that has so many asterisk points not even Richard Butler can remember what crop goes where and the rolling shutter in 8K causes even cat videos to wobble.

The eyewateringly expensive a9 III and a1 II have two of the best sensors in the world but neither can be bothered with anything more than 4K, let alone open gate!

And the a7v has disappointed all of Sony’s loyal userbase who wanted better video specs, many of whom will be tempted to get a Nikon Zr or Canon EOS R6 Mark III instead.

There is still no a7s III successor. Much like the Panasonic S1H line, it seems to have vanished off the planet.

Meanwhile they have allowed Nikon to get their hands on the RED raw recording patents, which might explain why there is STILL no Sony internal raw codec to call their own. Sony face paying hefty royalties or doing something like BRAW which is partially debayered in-camera… that is, if they don’t also end up falling foul of Blackmagic’s patent on that!

Then there is Fuji who is making inroads into cinema with the medium format GFX 100 II (my dream camera) and the Eterna cinema camera. With their much less expensive APS-C X-mount bodies, video specs have been a priority for a long time – they have ticked nearly all the boxes including 6K, open gate and currently have the best LOG editing codec – with all flavours of ProRes in the X-H2 and X-H2s even LT for smaller file sizes. Indeed the X-H2 is the best value for money 8K mirrorless camera currently on the market.

So if I were Sony now I’d be a bit worried, despite the fact the a7v still appeals to me, for a few reasons. I set them out here but the summary is that I think Sony E-mount has the best range of third party lenses and adapters, the Leica M autofocus adapter by Techart fulfils my wildest dreams when it comes to vintage lenses, although it’s available for Nikon Z mount as well. I also think that aside from 6K, 7K or 8K, some of the extended video features Sony are missing do appeal to only a niche audience. Does everyone need open gate, more than 4K, internal RAW codecs and a vectorscope? For shooting social media content? Really?

And yet at the same time the perception won’t go away…

That for the first time in many years, Sony are now BEHIND on video.

The post Why Sony is falling behind in video appeared first on EOSHD.com - Filmmaking Gear and Camera Reviews.

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No ano de 2025, tivemos as palavras como catalisadoras das crises do nosso tempo. Discursos usados como arma de guerra e opressão, termos em disputa e a luta pelas narrativas. A linguagem desenhando o mundo, o tempo e os corpos que os habitam. E neste episódio que encerra a quinta temporada do Pauta Pública, falamos sobre a linguagem como ato político, social e também como código de pertencimento e resistência. No caso, o pajubá ou bajubá.

Uma mistura de palavras da línguas africanas com um português “devorado”, a linguagem começou a ser praticada entre as travestis, principalmente durante a ditadura, para se protegerem nas ações policiais e de pessoas hostis. Desde então, a linguagem tem se espalhado pela cultura popular através das trocas cotidianas entre a comunidade LGBTQAIP+, e aparecido em músicas, filmes e na literatura.

A convidada para refletir sobre o tema é Amara Moira, autora de "Neca: romance em bajubá". A escritora, professora e ativista brasileira, traz nesta obra histórias sobre o trabalho sexual, o amor, o sonho e a palavra, de uma forma sofisticada, sem filtro, às vezes escatológica e sempre bem humorada. Um dos nomes mais promissores da literatura contemporânea brasileira, Amara também fala de como essa linguagem já faz parte da história do país e destaca a importância da iniciativa da ANTRA (Associação Nacional de Travestis e Transsexuais), junto com o mandato da Erika Hilton, para o reconhecimento do Bajubá como Patrimônio Cultural Imaterial do Brasil. 


Saiba que você pode ser aliado da Agência Pública e colaborar com esse trabalho. Saiba mais em apoie.apublica.org ou faça um pix de qualquer valor para contato@apublica.org.
Contamos com seu apoio!

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Por que tantas pessoas se encantam por líderes autoritários? O psicanalista e tradutor Paulo Schiller, autor do ensaio A Paixão Pela Mentira: a Família e as Tiranias (Todavia), discute neste episódio as origens do fascínio por tiranos. A partir do seu trabalho na psicanálise, Schiller diz que a ascensão do totalitarismo no século passado e seus ecos do mundo de hoje têm raízes nas relações familiares e nos silêncios a que nos acostumamos desde a infância. Na conversa, ele ainda fala sobre a experiência de traduzir o escritor húngaro László Krasznahorkai, vencedor do Prêmio Nobel de Literatura de 2025, que também explora o poder da mentira no seu romance Sátántangó (Companhia das Letras).

Apoio: Lei Rouanet - Incentivo a Projetos Culturais.

Assine a Quatro Cinco Um por R$ 10/mês: https://bit.ly/Assine451

Seja um Ouvinte Entusiasta e apoie o 451 MHz: https://bit.ly/Assine451

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Há discos que chegam como laudos revelando dores que a vida tentou esconder. "Emicida Racional VL 2 ? Mesmas Cores & Mesmos Valores", soa assim para mim -um prontuário de dor, tristeza e desorientação espiritual escrito em forma de rap. Leia mais (12/11/2025 - 19h00)

Having hoovered up the entire internet including even EOSHD (which it cites as a source for many camera related queries), ChatGPT has built a business based on the theft of copyrighted information, especially for Sora which is the company’s very capable video generation tool. As a world-generator it has to get the understanding of that world from our footage and immense libraries of copyright material. Today marks a landmark deal however and a huge precedent because instead of being sued by Disney the two Goliaths have got together and made friends with a payment FROM Disney to invest $1bn in OpenAI for an equity share, including the use of AI tools by Disney staff and creatives at Disney’s studios, in return for Sora users being able (within tight guardrails) to generate content based on Disney’s IP.

So this sounds like an unbelievably good deal for OpenAI (press release here). Not least the financial aspects but the fact it sets an amazing precedent for the licensing of major works and big-brand content. Instead of paying out of their own pocket to license Mickey Mouse so that Sora users can make “fan content” of it, Disney is paying OpenAI.

Now OpenAI can go to other major studios and content providers, like Netflix, Warner, Paramount and HBO, point to the Disney deal and say how great it is and by the way would you like to do the same?

I can only assume that the legal situation around generative AI was pointing to the annulment of any claim Disney might have had over the company in terms of copyright infringement.

I suppose it’s going to be that way for the rest of us too, except we won’t have an equity stake!

Say for example that if an OpenAI tool cites from an EOSHD article and puts a link to it, that’s only what Google has being doing for years, and much to my benefit as a business. Say on the other hand ChatGPT only understands certain topics because of the information on this site or on the forum, then you could arguably say I should have some equity in the company or other form of compensation. A very very small amount (in percentage terms) but this is what the Disney precedent suggests is legally the case for the rest of us whose knowledge has gone into the training models.

Say on the other hand ChatGPT synthesising and remixing copyrighted works like books, camera guides, LUTs or blog posts and passing it off as original content, I think that’s where it gets even murkier – and that in effect is what their whole business model is based on, be it chat bots or Sora the video generator.

Yet for the rest of us there might be a chance to gain from the biggest theft of content in history.

As a tool Sora is going to be able to bring to the screen in perfect cinematographic realism pretty much whatever we can write down and imagine, which places a premium on a good script, and a good imagination, and the human touch.

And the big money long term is not actually in the generative AI algorithms themselves.

It is in the human-AI interface design.

I have long believed that generative AI should move away from the simple text prompt interface we’ve come to know from OpenAI and all these early days applications of AI.

If someone would offer Sora in a hardware box resembling an editing console with lots of dials and levers, and out the back of the HDMI comes a finished film, with a polished on-screen editing interface to manage the virtual stage of characters, scenes, lights, cameras, sets and virtual storylines you could generate first rate episodic TV this way in the future and even cinema.

What would be missing however would be the real chemistry of real people on set, as all this would have to be simulated by the AI and this by definition could only really be computational, whereas the human experience and consciousness is not and is something deeper.

Anyway, interesting times and if you’re reading Sam I am waiting for my first cheque in the post for all those blog posts you’ve nicked.

The post OpenAI decides content is worth paying for – but only if it’s Disney’s appeared first on EOSHD.com - Filmmaking Gear and Camera Reviews.

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Donald Trump’s court squabbles over the future of American power

This week, Devoney Looser on what we don't know about Jane Austen; and Peter Swaab introduces a previously unpublished story by the great Sylvia Townsend Warner. 

'Jane Austen in 41 Objects', by Kathryn Sutherland

'Jane Austen’s Bookshelf: The women writers who shaped a legend', by Rebecca Romney

Jane Austen and George Eliot: The lady and the radical', by Edward Whitley

'Wild for Austen: A rebellious, subversive, and untamed Jane', by Devoney Looser

'The Pursuit and the End', by Sylvia Townsend Warner

Produced by Charlotte Pardy

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Hosted on Acast. See acast.com/privacy for more information.

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No último episódio do Mano a Mano em 2025, Mano Brown e Semayat Oliveira recebem um ícone vivo da música brasileira: Alceu Valença. Num encontro carregado de poesia, histórias e melodia, Alceu revisita sua trajetória, das ladeiras de Pernambuco aos palcos do mundo, e mergulha em reflexões sobre criação artística, liberdade, brasilidade e o tempo. O papo flui como um frevo, um maracatu, uma ciranda: cheio de camadas, memória e invenção. Entre causos raros, influências profundas, visões sobre o presente e o futuro da música, e a força das raízes que atravessam toda a sua obra, o artista abre seu universo criativo e mostra por que segue sendo referência para gerações. Um episódio para ouvir com atenção, desses que lembram que a música brasileira é, antes de tudo, uma experiência de vida. Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Today’s episode is about a momentous trial and the incendiary book that followed: the trial was of Adolf Eichmann, convicted by an Israeli court in 1961 of orchestrating the Holocaust, and the book was Hannah Arendt’s Eichmann in Jerusalem (1963), which questioned the grounds on which he was prosecuted. What did Arendt mean by ‘the banality of evil’? Why was she convinced that the case against Eichmann was badly misjudged? Was the trial really intended to serve as a history lesson? And if it was, what was it designed to teach?

Next time in Politics on Trial: Nelson Mandela vs Apartheid

Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Somos 4,3 mil

#113 – São Paulo, 4 de dezembro de 2025
Uma de minhas mãos segurando firme a outra
Chiques e corajosas
hortifruti.org

“my one hand holding tight/ my other hand;
come celebrate/ with me that everyday/
something has tried to kill me/ and has failed.”
(Lucille Clifton)

:: EDITORIAL ::

Na semana passada, chegamos à marca de 4,3 mil assinantes. São 4,3 mil almas que eventualmente terão de aumentar a dose dos psicotrópicos, dobrar a frequência semanal da terapia ou abraçar a completa e descarada loucura. Vamos repetir: 4,3 mil assinantes! A meta é de 1 milhão. Ou melhor: a meta é a de não sermos acusados de exercício ilegal da medicina. Se conseguirmos passar mais uns meses sem sermos processados, ainda melhor.

Lembrando que Natal é tempo de renascer, de renovar a esperança e de concretizar uma assinatura paga a este periódico. Venha você também se juntar aos 23 senhores e senhoras que nos ajudam a custear a sertralina. A meta é de 1 milhão. Basta escolher um modelo de assinatura no Substack:

E agora para as coisas de fato importantes. Nos últimos tempos, estamos lidando com uma condição extremamente inquietante, um cenário em que a criança começa a falar no momento em que põe os pés em casa e só para de falar quando fatalmente dorme.

A mesma coisa ocorre de manhã: a criança acorda já falando, ainda que sejam excertos amolengados de histórias não muito bem estabelecidas, e vai ganhando ímpeto narrativo conforme o dia avança, numa explosão de monstros aquáticos, alienígenas, princesas, nenês, bruxas, porcos-espinhos —alguns com suas respectivas músicas-tema —, de modo que o que nos resta a fazer é prestar a máxima atenção ao enredo, pois pode muito bem chegar sem aviso para nos testar uma questão sobre a pertinência de uma árvore de Natal de mexericas com uma estrela de carambola no topo.

Para além dessas dificuldades, estivemos nas últimas semanas em uma missão jornalística secreta que nos obrigou a acordar muito cedo e consequentemente drenou toda nossa energia de viver.

Mas estamos de volta e iremos publicar mais um ou dois boletins especiais antes do fim do ano. Pela paciência, obrigada.

:: VIÚVA NEGRA ::
Sasha Bonét, The Waterbearers

Betty Jean tornou-se mãe aos dezessete anos e, quando o Reverendo lhe pediu que fugisse com ele para o Mississippi, ela recusou. Sentia-se jovem demais para ser uma esposa. Para ser possuída. No caso de Betty Jean, essa recusa se tornaria rotineira. Seus familiares a chamavam de “Viúva Negra” por atrair homens, fazê-los se apaixonar e ter filhos, apenas para desaparecer e deixá-los destruídos, definhando. Muitos desses homens se tornaram pastores, como se, depois que Betty terminasse de usá-los, só Deus lhes restasse.

[Betty Jean became a mother at seventeen, and when Reverend asked her to run away with him to Mississippi, she refused. She felt she was too young to be a wife. To be possessed. For Betty Jean, such refusal would become practice. Her family members referred to her as the “Black Widow,”enticing men to fall in love and have children, only to disappear and leave the man broken, withered. Many of these men went on to be preachers, as if once Betty was finished with them, only God could keep them.]

:: COMPETIÇÃO DE MASSAGEM ::
Sarah Larson, “In the World of Competitive Massage”

“Você ouviu falar da mulher que, num ano desses, acabou coberta de chocolate?”, ela sussurrou.

[“Did you hear about the woman one year who ended up covered in chocolate?” she whispered.]

:: COCÔ DE CABRA ::
Rivka Galchen, “The Radical Development…”

Dioscórides de Anazarbo, um médico grego do século I, recomendava tratar a dor no quadril com excrementos de cabra montanhesa em lã embebida em óleo; para fins de anestesia, sugeria raiz de mandrágora fervida ou pedra de Mênfis; e para enxaquecas, unguento de rosas aplicado nas têmporas e na testa. Plínio relatou o uso de um dente de toupeira como alívio para dor de dente em humanos. Cerca de mil e oitocentos anos depois, Nietzsche tratava suas enxaquecas com sanguessugas aplicadas no ouvido.

[Dioscorides of Anazarbus, a first-century Greek physician, recommended treating hip pain with mountain-goat droppings on oil-soaked wool; for anesthesia, he suggested boiled mandrake root or Memphitic stone, and for migraines an unguent of roses, applied to the temples and forehead. Pliny reported the use of a mole’s tooth as an aid for human toothache. Some eighteen hundred years later, Nietzsche had his migraines treated with leeches applied to his ears.]

:: CAVAR UM CAMINHO ::
Sophie Elmhirst, A marriage at sea

O suicídio era apenas uma ideia, um pensamento. Mas, como todos os seus pensamentos, quanto mais pensava nele, mais fácil era pensar nele novamente. O pensamento retornava; cavava um caminho.

[Suicide was only ever an idea, a thought. But like all his thoughts, the more he thought it, the easier it was to think it again. The thought recurred; it dug a path.]

:: GOLFINHOS E CAVALOS ::
John Donvan e Caren Zucker, Outra sintonia

Na África do Sul, aplicavam nas crianças enemas com água sanitária diluída para livrar o corpo de espíritos malignos; em outro lugar, usava-se o mesmo método para matar a “bactéria” causada pelo autismo. Os pais se inscreviam na “terapia do abraço”, promovida por uma psiquiatra de Nova York chamada Martha Welch e endossada por um ornitólogo premiado com o Nobel. Consistia em fazer as mães abraçarem os filhos com toda a força ao mesmo tempo que gritavam com eles até que se acalmassem, coisa considerada como o começo da cura. Na França, pais tentaram a “terapia de packing”, que consistia em embrulhar fortemente a criança em lençóis úmidos e refrigerados, como um casulo, deixando só a cabeça de fora. Outras abordagens envolviam regimes de megavitaminas, dietas especiais e exposição a golfinhos e cavalos.

:: ESTAR CHIQUE ::
Lyz Lenz, Belabored

Mas eu tenho um adesivo de princesa colado na sola do meu sapato. O vestido que estou usando foi escolhido por minha filha de quatro anos, que me ouviu dizendo a meu marido que estava nervosa com a perspectiva de sair. Ela desceu as escadas correndo, arrastando um vestido de tricô preto e branco e um colar. “Estar chique vai te ajudar a ser corajosa”, ela me disse. Então eu me troquei.

[But I have a Princess sticker stuck to the bottom of my shoe. The dress I am wearing was chosen by my four-year-old, who heard me tell my husband I was nervous to leave. She came tramping down the stairs dragging a black-and-white knit dress and a necklace. “Being fancy will help you be brave,” she told me. So, I changed.]

:: POETAS ::
Ben Taub, “Russia’s Espionage War in the Arctic”

Berg foi levado para uma cela de isolamento na prisão de Lefortovo, o notório centro de detenção russo para prisioneiros políticos, críticos, poetas e espiões.

[Berg was taken to an isolation cell in Lefortovo Prison, Russia’s notorious detention center for political prisoners, critics, poets, and spies.]

:: MAPA ::
Tim Berners-Lee, This Is For Everyone

Por essa época, esbocei um mapa da web, inspirado no mapa da Terra Média de J. R. R. Tolkien. O alegre riacho saía do Condado da Rede Mundial de Computadores e chegava ao tranquilo Mar da Interoperabilidade. Ao sul, porém, cercado pelas Planícies Áridas Devastadas, os Montes Patenteados e o Desfiladeiro Proprietário, erguia-se o sinistro e anagramático Tor de Cism. Se você desse um zoom, veria que o olho de Sauron é, na verdade, o “e” do logotipo do Internet Explorer. O mapa está pendurado até hoje na porta do meu escritório no MIT.

[Around this time, I drafted a map of the web, inspired by J. R. R. Tolkien’s map of Middle Earth. The happy stream led from the shire of the World Wide Web to the tranquil Sea of Interoperability. To the south, however, surrounded by the Wasted Arid Plains, the Patent Peaks and Proprietary Pass, loomed the sinister, anagrammatic Tor of Cism. If you zoomed in, you would see that the eye of Sauron is in fact the ‘e’ on the Internet Explorer logo. The map still hangs on the door to my MIT office today.]

:: NOVECENTOS DIAS ::
Sasha Bonét, The Waterbearers

Foi exatamente o que ocorreu com o fim da escravidão, que o general Granger anunciou aos negros em Galveston, Texas, dois anos após a promulgação da Proclamação de Emancipação do Presidente Lincoln, em 1863. Durante novecentos dias, os negros trabalharam sob o impiedoso sol do Texas para os brancos texanos, sem saber que haviam sido legalmente libertados.

[Just as with the end of slavery, which General Granger announced to Black folks in Galveston, Texas, two years after the enforcement of President Lincoln’s Emancipation Proclamation of 1863. For nine hundred days, Black people labored under the merciless Texas sun for Texas White folks, unaware that they had been legally freed.]

:: GATOS E FAXINEIRAS ::
Lucia Berlin, A Manual for Cleaning Women: Selected Stories

As vozes das mulheres sempre sobem duas oitavas quando falam com faxineiras ou gatos.

[Women’s voices always rise two octaves when they talk to cleaning women or cats.]

:: OITOCENTOS LIVROS ::
Philip Kendall, “Man searching for the meaning of life…”

Um jovem de Nanjing, na China, foi preso após roubar mais de 800 livros de ciências sociais, história e poesia de uma livraria da cidade. Ao ser interrogado pela polícia, o jovem afirmou que estava procurando “o sentido da vida” nas páginas dos livros.

[A young man from Nanjing, China, has been arrested after stealing more than 800 social science textbooks, history compendiums and poetry books from a book shop in the town. When questioned by police, the young man maintained that he was searching for ‘the meaning of life’ within the books’ pages.]

:: OLÁ, 1487 ::
John Donvan e Caren Zucker, Outra sintonia

Ele também tinha na cabeça a lista de todas as pessoas da cidade e dos respectivos números —os quais ele lhes havia atribuído pessoalmente. Por exemplo, Janelle Brown era primeiranista quando Donald, então no último ano, a abordou. Nunca tinham conversado. “Ahn, ahn… Janelle Brown, de hoje em diante o seu número é 1487”, anunciou, então deu meia-volta e foi embora. Quando tornou a se encontrar com Janelle no corredor, dirigiu-se a ela, mas dessa vez chamou-a não pelo nome, e sim pelo número. “Ahn, olá, 1487!”E se afastou.

:: AS FREIRAS DO ABOLICIONISMO PENAL ::
Lawrence Wright, “The Nuns Trying to Save the Women…”

Uma vez por semana, elas saem do convento para atividades recreativas — futebol, basquete, natação — tudo isso usando seus hábitos, inclusive na piscina.

[Once a week, they leave the convent for recreation—soccer, basketball, swimming—all accomplished while wearing habits, even in the pool.]

:: ATLETISMO CIRCENSE ::
Jacqueline Nesi, “The Man Who Ran 71 Miles While Juggling”

Em uma entrevista de 2015, que li na íntegra, ele é questionado sobre como descobriu que a corrida de malabarismo era o seu esporte. Ele responde: “Assim que percebi que não conseguiria entrar na NHL [Liga Nacional de Hóquei], olhei para o meu exemplar surrado do Guinness Book of World Records e pensei: ‘Existem dezenas de milhares de recordes ali. Em algum lugar, deve haver algo em que eu possa ser o melhor. Só preciso de uma coisa.’

Um dia, folheando o livro, que era como uma Bíblia para mim na época, me deparei com o recorde da maratona de corrida de malabarismo, e de repente os anjos desceram do céu e me avisaram que o juggling era a minha verdadeira vocação. Disseram-me que um dia eu seria o maior atleta da categoria que o mundo já viu. E naquele momento, eu soube que a minha vocação era correr longas distâncias enquanto lançava objetos para o alto.”

[In a 2015 interview, which I read in its entirety, he is asked how he realized joggling was his sport. He says, “Once I realized that I wasn’t going to make the NHL, I looked at my tattered copy of the Guinness Book of World Records and thought, “There are tens of thousands of records in there. Somewhere, there must be something that I can be the best at. I just need one thing.” One day I was flipping through the book, which was a sort of Bible to me at the time, and came across the record for the fastest “joggling” marathon, and all at once the angels flew down from above and advised me that joggling was my true calling. They told me that one day I would be the greatest joggler the world has ever seen. And at that moment, I knew my life’s calling was to run long distances while tossing objects in the air.”]

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“Para ser lido na maldita hora da noite em que tudo é engraçado – logo após a hora em que nada faz sentido e antes daquela em que tudo faz sentido” (Stephanie A.)

::: hortifruti.org :::

Pequeno aviso legal: A Hortaliça será distribuída gratuitamente através desta plataforma. Não iremos produzir conteúdo fechado para assinantes por acreditar no livre acesso à informação, arte e cultura. A tarifa zero será bancada pelos leitores e leitoras e leitões que tiverem condições financeiras (e vontade) de colaborar. A estes, pedimos que nos apoiem escolhendo um plano de assinatura ou depositando moedas de ouro aleatórias para a chave pix: vmbarbara@yahoo.com. Vamos apoiar o jornalismo independente, a literatura de guerrilha e a bobice semiprofissional.

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Donald Trump and Xi Jinping share a dangerous nostalgia

Visualizing how musicals use motifs to tell stories.

From a British perspective I can only look at America right now in total despair. It’s like watching the Soviet Union in the mid 1990s. The film industry is under a huge amount of pressure at the moment from all angles – now the last remaining great Hollywood studio is being offered for sale – Warner Bros. It’s the closest thing yet to putting the entirely of Hollywood up for sale. Cinema is not safe with Larry Ellison, if he gets his way.

The streaming tech giant Netflix is in the blue corner with a massive 82 billion dollar offer that was expected to be accepted by shareholders but Larry Ellison of Oracle is now circling Warner with a hostile takeover bid promising to “finish what we started” – make no mistake, this is the end for cinema as we know it.

Ellison has already hoovered up Paramount in August of this year, handing control to his son David in an act of pure nepotism.

Before we directly address the facts I want to get my opinion out there about the shocking state of affairs film finds itself in with the Warner Bros buyout. You can also read the official Netflix statement of intent here.

What follows is an opinion piece, nevertheless containing factual evidence…

It is one thing for Hollywood to be sold down the river to a tech giant like Netflix, the biggest single factor in movie theatre decline ever, but to have the US President interfere in favour of an oligarch friend Larry Ellison is plainly un-American, it isn’t capitalism, it’s straight out of the Russian playbook for a mafia state and totalitarian dictatorship. Some would even go so far as to call it straight up fascism, that Ellison may be in the position to create a monopolistic media so he can control the average American and dictate the public discourse. Where exactly Harry Potter and Barbie come into it is anyone’s guess but I recommend seeking out the 1980s book by Neil Postman: Amused to death, available at all good bookshops until it’s taken away and burnt.

According to reports in the reputable British media including the BBC, Trump is threatening to veto the proposed Netflix takeover of Warner Bros by bending the arm of the competitions and mergers authorities so they will only approve a sale to Ellison, and nobody else.

Of all the corruption hiding in plain sight that my friends in the US have witnessed this year I think this is the most audacious, there is no attempt to hide it at all.

And we’re all sitting around with the popcorn out as if it’s some sort of reality TV show. The public discourse on this has been as usual – pathetic. As if it’s a sport.

Ellison is in my opinion nothing but a wannabe oligarch. He must have buttered up Trump something wild with all that AI claptrap because the two geriatrics seem to be closer than Stalin and Mussolini, presumably there’s more to this in terms of just a bromance, what sort of payback there is for Trump… one can only speculate.

Larry Ellison is also now the owner of Paramount studios. The competitions authority under Trump doesn’t seem to be bothered by that. Funny! Paramount are pretty much second only to Warner as far as massive US media giants go. It’s laughable that any sane competition regulator would allow Paramount/Skydance/Oracle to buy Warner.

It’s a “family business” in so much as like all good oligarchs there’s his son in charge of Paramount as if it’s a fucking Soviet Union oil conglomerate or something from the Murdoch / FOX NEWS empire.

And this matters for filmmaking more than you think, for Ellison is a key proponent of AI and will want as much AI slop as possible to be made if he gets his way.

As the most important of all the remaining Hollywood studios, what an unedifying spectacle to have this tug of war between big tech and big mafia. But that’s what happens when you have shareholders with no principals.

With all these nice people fighting over cinema and Hollywood like vultures, there’s one loser in all of this and that’s film, for this is the death knell of traditional theatre. The human way – movie theatres, cinema in general, nights out of the house, literature for their ordinary man… they are are going to become niche legacy activities consigned to history because one suitor Netflix wants you all to stay in, eat shit and get cancer, and the other one wants you all to be in a daze of fascist propaganda because that’s the only way a billionaire gets to become a trillionaire. To these soulless human calculators, that’s the only thing life is about… that and human sex trafficking because they can’t find any satisfaction in their private lives either.

The bidding war – if you can even call it that – is not even a battle for Hollywood’s film industry future, because it doesn’t have one – this is for the IP, franchises and brands that underpin much of modern Western culture. There’s incredible amounts of money at stake.

In ‘normal’ capitalism shareholders get to decide which bidder will fatten their pockets the most and offer the biggest opportunity for future growth so they can get fat now and even fatter in the future. But with fat bastard Trump acting shadow puppet to the government regulators because of the collapse of American democracy, he is the singular entity who has the final say on who wins this bid… And they can’t let a “woke” company like Netflix get the crown jewels can they? Harry Potter, Marvel Universe, the lot…

I hope these shareholders go and do the right…… Nah. It’s not even worth suggesting is it? Culture before profit? Cinema first, making a cheap buck second? Fucking come off it… They’re Americans.

Talent exodus incoming

But there is one thing that artists can do about it, and that is for all of Warner’s top talent to finally put their long ostrich like necks on the chopping board of virtue.

James Gunn, all those woke producers, director Joseph Kosinski of F1 movie fame, Gal Gadot, Ezra Miller, Henry Cavill comic book hero slop extraordinaire, they should all put career second for the first time in their lives and put cinema first.

The answer is for them to do what Christopher Nolan did 3 years ago. Leave.

Nolan, saw the writing on the wall. Warner and the stream giants like Netflix were getting closer and closer, their shit values more and more aligned over bringing cinema to the smartphone screen first, movie screen second. So he said to them – I’m leaving, and he took the Oppenheimer script with him.

Oppenheimer was a 950 million dollar hit, and it could have been a Warner Bros picture.

Nothing hurts an executive shiteater more.

Nothing gets to a shareholder like a good old exodus of employees at a high level – after all, they matter.

So it is time for you all to do the right thing and state clearly your objection sir, to the Ellison buyout, and air your objections sir and madam to the sweeping destruction that AI filmmaking will bring to film crews and jobs. I am not saying there should be another damaging Hollywood strike, all that’s needed is for a few top names to take a stand – and hurry up about it.

If the Netflix deal is approved, and it’s looking very unlikely now – it has to also be on the terms of the top talent at Warner. Protect jobs, especially in CGI, restrict the use of AI, and preserve the movie theatre experience for the next generation.

Perhaps then democracy still has a fighting chance, and the film industry a future.

The post Warner Bros risk talent exodus over Trump-Ellison deal. Who will follow Christopher Nolan and jump ship next? appeared first on EOSHD.com - Filmmaking Gear and Camera Reviews.