recurring days

Hey guys,

Some new things:

1. On the friendship between the author of the book White Tiger and the director of the film (one of my favorites from the past year): an interview with them; and a piece by the author.
   

2. The 'recurring day ' genre has a new addition in Boss Level, and the takeaway seems to be that they're getting worse and worse. Why make them? What audience is saying it wants to sit through another? What execs think it's a profitable template that can be transplanted anywhere? Is it supposed to be relevant these days due to lockdowns?
   
   Groundhog Day is iconic, partly because it was first, and partly because it's well-crafted. (I always did have an issue with the philosophy though.  It has a surprising amount of depth, told through action, but why is it that learning to be selfless allows us to escape Saṃsāra?  And why does the escape lead him back to the ordinary world? Too neat and tidy. Whatever. A happy ending was needed.)
   
   Edge of Tomorrow -- it's pretty great watching Tom Cruise play a coward transforming into Tom Cruise.
   
   Russian Doll has the benefit of several episodes. But muddied its waters toward the end.
   
   Palm Springs was the first of these to have schlockly acting and forced, not funny humor.  Disappointing, as I'm typically okay with Andy Samberg. This was better.
   
   Now we arrive at Boss Level, with its autopilot action, attempts at attitude, attempts at sentimentality, and a main character that nearly lacks personality.
   
   Ideas what should be next?
    

3. Did you learn classical music from watching cartoons?
   

4. Email is making us miserable.
   

5. Spielberg's getting personal again. Let's see if the shift away from collective American history and tech exercises can lend some new inspiration. Not that he's ever been totally out of form, but he's best with characters with emotional complexes or subjects close to his heart where he nearly goes docustyle. New project seems it could call for both.

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Chris