The good tweets are from me and the bad ones are from my interns
Joined February 2018
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jp retweeted
I love great writing and hate how it's treated on the internet. So I built something to try to fix that.
If you wish there were a better place to share your writing, to discover new work, to talk culture and books, then I invite you to read—and to join me.
rarely see eye to rye with this guy on specific movies but his approach to criticism and how he talks about it is always great
awful
⚡️ Mayor Zohran Mamdani's NYPD is poised to sign a three-year, $750,500 no-bid contract with Israeli surveillance firm Cognyte for FalcoNet, an AI-driven device that mimics a cell tower to track phones and can be mounted on police cars and drones or hidden in a backpack, the New York Daily News reported.
Cognyte won a tender to sell intercept spyware to Myanmar's state telecom weeks before the 2021 military coup, Reuters previously reported. Meta banned the firm the same year, saying its customers used fake accounts to target journalists and politicians in Kenya, Mexico and Indonesia.
The firm is part of an Israeli surveillance industry that grew big as a result of the military's monitoring of Palestinians, whose phone calls Israel's Unit 8200 has intercepted and stored by the millions, including to carry out genocide in Gaza and enforce a brutal illegal occupation in Jerusalem and the West Bank.
jp retweeted
people who are too young to remember a world before letterboxd really don't understand. it's been the most significant positive force for cinephilia of the century. for all its faults, it has completely changed film culture for the better
read blindsight by peter watts now
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jp retweeted
re: Ebert occasionally "missing" on a great movie, I think people forget that the point of criticizing art is not to be "correct," it's to engage with the work sincerely; a critic should be evaluated less on "correctness" and more the consistency/depth of their work
No documentary has ever been a "straight documentary"
I loved “You Can See Everything.” But it left a sour taste: why would it be unethical for Holmes and Evans to get paid??
This is not a straight documentary. Fielder is shaping a performance amongst the 3 of them. So the conventional journalistic prohibition on paying sources doesn’t clearly apply. Framing A24’s financial interest as the neutral business of making a movie, while Evans’s as a moral failing feels flawed.
And then the part that gets sour is turning that negotiation into material. Which is quintessential Nathan Fielder, but AGAIN makes any appeal to conventional documentary ethics even less convincing.
jp retweeted
Last week above the city of Rhenen in The Netherlands. I had been wanting to photograph this church tower with these kinds of conditions for years, and I finally managed to do so. What a morning.
