Lupin returns

Hey guys,

Some new things:

1. Everyone is a subscription.
   

2. Looking good, Dr. Jones. And de-aging motion capture??
   

3. Lupin is back. Love seeing events play out, then seeing the story double back to show the trick behind it... Omar Sy's performance is effortlessly cool, so of course Season 3 is coming. And Mathieu Lamboley's theme music sticks. Here's an interview.
   

4. Why do we hate the sound of our own voices? (speak for yourself)
   

5. Three Identical Strangers director Tim Wardle has a list of 15 things he wish he'd known about doc filmmaking at the start of his career. (FYI, Three Identical Strangers is one of the top things I saw in the past year)
   

6. Davidson Hang has a book out, Redefining Masculinity: Visions for a New Way of Being.  Please consider purchasing a copy, Kindle or physical. Because once 1,000 copies are sold, he's going to donate $10,000 towards Supporting Orphans in Vietnam.
   

7. In the Heights made me feel more than ever I'm not the target audience for musicals.  But I have really liked a good many. While this one may have worked on stage at the time it first came out, it has no momentum on film. There's a lot of vocal and musical energy, sure... It's just all for show. It's underdeveloped and goes nowhere.
   
   It also looks nothing like NY to me. Not referring to the petty colorism outrage. I mean -- as Peter Bradshaw talks about -- it's all pep and smiles and happy happy happy. It's a fairy tale unrecognizable utopia. It's also not much of a hit. 
   

8. How will films set in the contemporary world address this virus era. Will most of them just ignore it and act like their story takes place in an alt universe? Will some make passing references to it, while life and plots go on otherwise unaffected? Will they all share the same basic attitude toward it?
   
   In the meantime, here are 2 things obliquely related: Ben Wheatley's In the Earth, filmed over 15 days last summer. And Await Further Instructions, which actually came out in 2018. Both are horror films. The former is set during an anonymous plague, but doesn't have much else to do with it. It's engaging and has touches of Wheatley's dark humor, but ultimately doesn't fully satisfy or transcend... The latter is extremely prescient. While a little sloppy and noticeably amateur at times, it's still an intriguing satire on our blind reliance on media, with more than a few incredibly coincidental details.

Feel free to share any of this with anyone you know who'd like it -- you can send the links -- or forward the email so they have the chance to subscribe.

If you’re seeing my scrapbook for the first time, you can subscribe here to keep getting it.

Chris