A very happy 233rd Independence Day. So, some big news on the life front: It took quite a bit longer than I originally anticipated, but I've finally managed to buck the worrying trend out there and secure full-time remunerative employ. As such, tomorrow I drive back up to Washington DC -- my home from 1997-2001 -- to start work on Monday. (Berk will follow in a week or two, once I successfully navigate the apartment-hunting phase of the move and find a decent place that doesn't discriminate against sheltie-americans.)

My job, in case y'all were wondering: I'm going back into full-time political speechwriting. More specifically, I will be working on the Hill, House side, as a "foot-soldier in the Obama revolution," to borrow a frequent McCainism. And I hope and expect I'll be getting a first-hand look at how the legislative sausage is made from the ground floor.

If you're curious to know who exactly I'm working for, feel free to drop me an e-mail sometime. Why so coy about it? Don't worry -- it's a Democrat! Still, after close to ten years of posting here at GitM, this feels like a good time to establish some modicum of healthy distance between my life and blog. If anybody's still reading from my last DC tenure way back when, I acknowledged openly back then that I worked at the FCC, and it's not like this became the go-to place for inside scuttlebutt on the AOL-TW merger or anything. (Nor, during my Carville stint, did I post about any work goings-on in this space either. I may not have been blogging per se in '97 and '98, but I was nevertheless writing here pretty often.)

But, in those days, the Internet was more of a Wild West frontier town, blogging was a relatively new fad -- back then, it wasn't "What do the bloggers think?!" but "Why are you bothering to post that stuff online?!" -- and I think it was easier to get away with more. Now, I'm under no illusions that GitM has or ever will enjoy a large readership -- In fact, in terms of visitors this site peaked probably five or six years ago. And, from the beginning, I've always been conscious that this is a public forum, and have tried to be relatively temperate in my posts accordingly. I think the archives here reflect pretty well on me, all in all, and I'm not really concerned about hiding anything. Even if somebody did make the effort for some ridiculous, unlikely reason, the worst headline a right-wing blogger type might come up with after perusing the past decade of posts is "Democratic Aide is Overgrown Boy, Won't Shut Up about Lord of the Rings."

But, obviously, I have been a partisan here over the years. And so, by establishing a little more distance between my blogging and working life, I hope it'll emphasize the fact that both the ten years of posts already here, and the posts to come, reflect on me and me alone. As far as GitM goes in the future, I won't be posting on my day-to-day business as always, and, as always, I'll be erring far on the side of discretion in my choice of topics. Still, unless Congress suddenly takes a decisive stance on movie trailers, fanboy-to-film properties, random science and culture articles, and the occasional items of historical or progressive interest, I'm sure the usual content here won't shift all that much.

Phew! Now that all the caveats are out of the way, let me say that I'm very happy to be both rejoining the ranks of the employed and returning to political speechwriting. (Yes, some aspects of DC life do rankle, but I have a lot of friends there, and it's definitely a fun, interesting town.) To be honest, this is a career move I've been considering since I first set off for grad school in 2001, so my returning to the political fold on the other end of the PhD process (give or take a few months) feels like a natural and very satisfying progression to me. (The Ivory Tower isn't losing much anyway, particularly given that the existence of academic jobs in this recession economy, as many poor souls out there can tell you, is proving to be almost entirely theoretical. Besides, over the long term, I don't really see the academic and speechwriting paths as mutually exclusive anyway. And never say never -- with any luck, I have a ways to go yet before the final bell tolls.)

At any rate, I'm off for a hopefully MacArthuresque return to DC. I expect updates here will be more sparse than usual over the next few weeks as I make the move and settle in. But, I'll be back, in due course. Until then, a very happy July 4th to you and yours.

In Public Enemies, Michael Mann's strange and striking naturalistic recounting of the last year in the life of John Dillinger, you can catch glimpses of several other movies Mann has made over the years. Most obviously, the film's basic plot is much like that of Heat with Johnny Depp and Christian Bale taking the bank-robber (DeNiro) and crusading-cop (Pacino) roles respectively -- Here Depp is Dillinger, the charismatic Depression-era outlaw whose string of notorious bank jobs unwittingly help to forge modern techniques of law enforcement, and Bale is Melvin Purvis, the stalwart, if somewhat plodding, lawman who leads the effort to bring him to justice. And Enemies also shares the hyperreal hi-def aesthetic and in media res "just another day in the life" presentation of Collateral and Miami Vice, which is particularly impressive given that this one takes place in 1933.

But what I found most interesting in Public Enemies were the parallels to probably my favorite Mann film, Last of the Mohicans. Both are tales of American history, of course, and both involve unbounded loners -- Mann-ly men beholden to no one but themselves -- who find their priorities and "no-strings" life philosophy challenged once they meet that certain special woman, be it Cora Munro (Madeleine Stowe) or Billie Frechette (Marion Cotillard). (Now that I think about it, that same dynamic holds for the DeNiro (Amy Brenneman) and Colin Farrell (Gong Li) characters, and to a lesser extent even those of Val Kilmer (Ashley Judd) and Jamie Foxx (Naomi Harris), in Heat and Miami Vice respectively.)

But, even beyond that, Public Enemies is, like Last of the Mohicans, mainly about the demise of a certain type of freewheeling individual, a man who cannot continue to exist under the tenets of the New World Order being born at that very moment. In this case, it's not the armies of Europe, and the mores and treaties of "civilization" that they carry with them, that are ratcheting up the pressure. Rather, it's the swiftly emerging enforcement arm of Big Guvmint, and the corresponding reaction by Organized Crime, as personified here by Capone underboss Frank Nitti, that are hemming our (anti-)hero in. (While I don't think he ended up being that successful at it, Martin Scorsese seemed to be going for much the same idea at the close of Gangs of New York, when the arrival of the Union army from Gettysburg basically makes the gang war brewing all movie irrelevant. There's a new boss in town, and it's called the U.S.A.)

As such, when you think about it, Mann and Depp's John Dillinger is not unlike Hawkeye (Daniel Day-Lewis) from Mohicans. In fact, he's what you might call the Last of the Honest Bank Robbers. It used to be a fella in trouble with the law could just jump the state line and find respite over in, say, Ken-tuck-ee. But that's not how it's plays anymore, not after J. Edgar Hoover (Billy Crudup) gets through fashioning a brutally effective and fully federal law enforcement system to hunt down Dillinger and his cohort of "Public Enemies." (Yep, in his own way Crudup is as much of a paradigm-changer here as he was in Watchmen. Instead of heralding the Atom, he's now the harbinger of Federal Power. Either way, the new age he represents makes the old ways of doing business irrelevant.)

Just to help get this point across, Mann has Bale's Melvin Purvis shoot gangster Pretty Boy Floyd (Channing Tatum, blink-and-you-miss-him) dead early in the first reel. Best remembered from the Woody Guthrie social protest ballad ("Some will rob you with a six-gun, and some with a fountain pen"), "Pretty Boy" Floyd is another member of the same dying breed, so of course he's brought low by Hoover's G-men right away in this telling. The new Federal state has no use for charismatic outlaws, even if they are rumored occasionally to dole out "a whole car load of groceries" to "the families on relief." (Why is this telling of Mann's purpose? Well, mainly because it's blatantly wrong. Floyd, like fellow outlaws "Baby Face" Nelson (Stephen Graham) and Homer Van Meter (Stephen Dorff) actually all outlived Dillinger, which, frankly, are some rather large liberties to play with a supposedly true story.)

Anyway, if the last few paragraphs have seemed more unmoored and stream-of-consciousness than a lot of the reviews around here, well, so is the movie. Public Enemies is a strange bird, an alternately compelling and occasionally lumbering biopic that moves to a beat of its own. In the end, I'd definitely recommend the film, if nothing else than for its hi-def visual flair, occasional moments of real grace, and documentary recreation of the thirties. But particularly in the film's first hour, it's sometimes hard to get a grasp on what exactly is going on. (Our couple runs into some trouble at the track, for example, which seemingly comes out of the blue if you weren't already familiar with the contours of Dillinger's story.) And eminently recognizable faces -- Giovanni Ribisi, Lili Taylor, David Wenham, Emilie de Ravin, Leelee Sobieski, Herc and Judge Phelan of The Wire -- often flit in and out without introduction, such that it sometimes becomes hard to keep track of who's important and who's not.

Still, I'd almost always be challenged by a movie by being given too little information rather than have it overexplain everything. I expect some people will find Public Enemies maddening (and others maddeningly dull), but it's undoubtedly pure, undiluted Michael Mann. And -- like Billie -- I'm glad I took this ride.

"The colony may be the largest of its type ever known for any insect species, and could rival humans in the scale of its world domination." By way of FmH, scientists discover that Argentine ants seems to have developed a multi-continental mega-colony. "[W]henever ants from the main European and Californian super-colonies and those from the largest colony in Japan came into contact, they acted as if they were old friends...In short, they acted as if they all belonged to the same colony, despite living on different continents separated by vast oceans." Well, one thing is for certain, there is no stopping them; the ants will soon be here. And I, for one, welcome our new insect overlords.

"Let me go back to a comfortable analogy for me - sports... basketball. I use it because you're naïve if you don't see the national full-court press picking away right now: A good point guard drives through a full court press, protecting the ball, keeping her eye on the basket...and she knows exactly when to pass the ball so that the team can WIN. And I'm doing that - keeping our eye on the ball that represents sound priorities - smaller government, energy independence, national security, freedom! And I know when it's time to pass the ball - for victory."

Sarah says that she wants to know, why she's given half her life to people she hates now... Or, in other words, members of the press, you won't have a certain maverick to kick around anymore...or will you? With a rambling farewell speech that probably won't be remembered as a model of the form, former veep nominee Sarah Palin resigns the governorship of Alaska. Whether this is due to 2012 calculation or impending scandal is yet to be determined, although the hurriedness of the preparations would seem to suggest the latter.

"Brazil' is the one that will probably be stamped on my grave because that on seemed to have made a big effect on a lot of people. And that's all I'm trying to do is affect people." CNN talks briefly with Terry Gilliam on Heath Ledger's passing, The Imaginarium of Dr. Parnassus, and sundry other topics. "Talent is less important in filmmaking than patience. If you really want your films to say something that you hope is unique, then patience and stamina, thick skin and a kind of stupidity. A mule-like stupidity is what you really need."

"'I was so incredibly lucky,' Malden once told The Times. 'I knew I wasn't a leading man. Take a look at this face.'" Karl Malden, nee Mladen Sekulovich, 1912-2009. "I'm a workaholic. I love every movie I've been in, even the bad ones, every TV series, every play, because I love to work. It's what keeps me going."

Well, I have to admit, I went in rooting for Rian Johnson's The Brothers Bloom, which I caught last week at the local arthouse. Johnson has proven himself in the past to be a huge fan of Miller's Crossing, which always goes far in my book. (Indeed, like all good disciples of that wonderful flick, Johnson understands the crucial importance of hats. The millinery may be the best part of Bloom, and Johnson has the good sense to let Rachel Weisz look adorable in a bowler for a good part of the run.)

But, sadly, the well-meaning but ultimately rather flimsy Brothers Bloom suffers from serious flaws. It's a relentlessly good-natured caper flick, so harping on its problems feels a bit like acting the Grinch. But, nonetheless, The Brothers Bloom is too coy and precious by half. The main problem is that, for whatever reason, it's been Wes Andersonized within an inch of its life. The static shots crufted over with hyperstylized bric-a-brac, the low-fi, DIY scene cards, the many peculiar eccentricities of the upper crust, the hipster's vinyl collection of forgotten oldies comprising the soundtrack, the somewhat dubious minority characters, the jaunty, vaguely Tintin-ish plot -- It got to the point where I sometimes forgot if Adrien Brody was supposed to be hectored by older brother Mark Ruffalo or by older brother Owen Wilson.

At any rate, The Brothers Bloom begins in Wes Anderson-style and never lets it go. When we first encounter the titular siblings, they're two young orphans who already dress like the Artful Dodger, and who -- moving from foster home to foster home -- are already developing a taste for the long con. Even in these early years, the fraternal dynamic is set. Stephen, the elder (eventually, Ruffalo), is the idea-man. Using large flowcharts to get his beats across, he conceives extended, needlessly elaborate cons mainly as long-winded adventure stories to amuse his little brother. Meanwhile, Bloom, the younger (soon to be Brody), is the unwitting and eventually deeply beleaguered star of Stephen's tales. Just like Tom Reagan in Miller's Crossing, he tends to achieve the desired outcome of his brother's gambits, but lose the girl in the process.

After they grow up, the brothers -- along with their partner-in-crime, the basically mute explosives expert Bang Bang (Rinko Kikuchi -- more on her in a bit) -- wreak havoc on various unsuspecting marks and gain notoriety all across the globe. But when Bloom has finally had enough, Stephen decides to concoct a bravura finish: A final job, one that will involve grifting a beautiful, bizarre, and deeply lonely New Jersey heiress, Penelope Stamp (Weisz). Will Bloom finally get the girl this time? Ah, no peeking -- that would ruin the trick.

The Brothers Bloom is as obsessed with legerdemain and sleight-of-hand as, say, The Prestige, and as the movie moves to its conclusion its central conceit -- cons/tricks = seduction = storytelling = filmmaking -- grinds louder and louder. (Speaking of which, as part of its pledge Brothers telegraphs relatively early that the film will end in Mexico. This is a mistake. Partly because, as the movie wears out its welcome, I found myself wishing more and more that they'd get South of the Border already. And, when the movie *doesn't* end in Mexico, it makes the convoluted, almost inchoate final act -- in Russia, in case you were wondering -- seem that much more meandering and purposeless.)

The problem is it's hard to shake the feeling that we've seen this trick before. Like I said, this is a Wes Anderson movie through and through, and if, like me, you're kinda over that whole aesthetic at this point, you'll begin to lose interest even while Johnson is still dealing the cards. (Admittedly, the moments I liked best in Bloom probably count as Wes Andersonisms, from -- for me, the biggest laugh in the movie -- Rachel Weisz's three-second-turn as a club DJ to Weisz and Brody dancing the bolero aboard a pleasure cruise on a moonlit night.) And don't get me started on Robbie Coltrane, who even more than everyone else seems like an unnecessary emissary from the Andersonverse here.

Also in the debit department, there is the matter of Bang Bang. I won't say she's a racial stereotype that's offensive, per se (particularly given the noise coming out of Transformers 2 this past week -- it seems that bar is still set really low) -- but everything from her unfortunate name (at best a Nancy Sinatra reference, but still too chop-socky by half) to her stint doing Tokyo karaoke suggests there's a lot of really embarrassing Exotic Othering on Johnson's part going on here. Honestly, when your Asian female character has more screen time and less dialogue than Chewbacca, something has gone horribly wrong. Next time, how about write the poor girl some lines?

At any rate, I can see some folks, particularly the Anderson-inclined, being able to overlook the many flaws of The Brothers Bloom and just see it as an easy-on-the-eyes, unabashedly romantic caper story. I am not one of those folks -- At best, it's a rental.

[Note: I realize The Brothers Bloom came out ages ago for many GitM readers. But, what can I say? It got here only recently -- At the moment, I'm a victim of the limited release schedule. In a perfect world, I'd be talking about Moon, Whatever Works and/or The Hurt Locker right now, instead of studiously avoiding the 45 showings a day of Transformers 2. As it is, hopefully I can get to Michael Mann's Public Enemies sometime over the coming weekend.]

"That's happened with increasing frequency at the FEC lately. Election-law experts, supporters of campaign-finance regulations, and even some members of the commission itself are expressing growing concern about a string of cases in which the three Republicans on the commission -- led by Tom DeLay's former ethics lawyer -- have voted as a block against enforcement, preventing the commission from carrying out its basic regulatory function." Pete Martin and Zachary Roth of TPM Muckraker delve into how Republicans antithetical to campaign finance reform have effectively sabotaged the FEC. "The FEC, he said, has been made 'ineffective' -- and not by accident. 'This is what McConnell had in mind.'"

"Of course, the one person who could do the most to get the commission back on track is President Obama...Most experts believe that the White House supports stronger campaign-finance laws as a goal, but, with a host of other issues on its plate, is reluctant to pick a fight with the GOP Senate leader. 'They're picking their priorities, and they don't want to take on Mitch McConnell right now,' said Hasen. 'I consider that unfortunate.'" Anyone else sensing a pattern?

In the July 4th weekend trailer bin:

Sigh...From a 2-0 lead at halftime, the US falls to Brazil 3-2 in the Confederations Cup final. (And it really should've been 4-2 -- The refs missed a Brazil goal in the 62nd minute.) Well, we had a good run, and we'll always have the Spain win...onto 2010.

They gave us those nice bright colors, they gave us the greens of summers: By way of Dangerous Meta and to commemorate the recent discontinuing of the famous film, Fortune offers up twenty Kodachrome images from its extensive photo archives, including shots by Ansel Adams, Walker Evans, and William Vandivert. The one above, by W. Eugene Smith, dates to 1957.

"He's cool. He's jolly. The funny thing is that when I first met him [the Dalai Lama], the Tibetans were all familiar with Groundhog Day, but they didn't understand the Dalai Lama speech in Caddyshack. They're like, 'The Dalai Lama does not play golf.' I said, 'I know, I know. But if he did...'"

As part of the Year One roll out, GQ publishes a wide-ranging and worthwhile interview with director Harold Ramis, one that pauses to consider Animal House, Caddyshack, Ghostbusters, Groundhog Day, Meatballs, and the strange headspace of Bill Murray. "Everybody has a Bill Murray story. He just punishes people, for reasons they can't figure out. He was a student of Gurdjieff for a while, the Sufi mystic. Gurdjieff used to act really irrationally to his students, almost as if trying to teach them object lessons."

"One of the bill's co-sponsors, Rep. Edward J. Markey (D-Mass.), said: 'The American people wanted change in our energy and climate policy. And this is the change that the people are overwhelmingly asking for.' He called it 'the most important energy and environment bill in the history of our country.'" After much wrangling and a half-hearted GOP attempt at filibuster (which is only a prerogative of the Senate), the House passes the Waxman-Markey climate bill, 219-212. (Eight Republicans voted for it, 44 Dems opposed.) The "cap-and-trade" bill "would establish national limits on greenhouse gases, create a complex trading system for emission permits and provide incentives to alter how individuals and corporations use energy." [Key provisions.]

There is some concern that the bill has been watered down too much out of political necessity: "While the bill's targets may seem dramatic, they are in fact less than what the science tells us is required to avoid catastrophic warming. The 2020 target in particular is far too weak and quite easy and cheap for the country to meet with efficiency, conservation, renewables and fuel-switching from coal to natural gas."

Still, environmentalists remain hopeful. "It is worth noting that the original Clean Air Act -- first passed in 1963 -- also didn't do enough and was subsequently strengthened many times." And, while the bill -- which (sigh) gives away 85% of the new emission allowances (the heart of the "cap-and-trade" market hopefully soon to emerge) to interested parties -- looks to "set off a lobbying feeding frenzy," groups like the NRDC seem to agree that "[t]his is the best bill that can actually get through committee."

Of course, now the bill has to get through the Senate, where the usual lions lie in wait. ""Senator Inhofe of Oklahoma said 'It doesn't matter,' he declared flatly, 'because we'll kill it in the Senate anyway.'" And even some Dems are fatalistic about its prospects. "Mississippi Rep. Gene Taylor (D) voted against the measure that he says will die in the Senate. 'A lot of people walked the plank on a bill that will never become law,' Taylor told The Hill after the gavel came down." Looks like Sen. Reid has his work cut out for him.

"Somewhere in literary-character hell, John Galt is spending an eternity getting beat down by Tom Joad & his pick handle." Ah, Ayn Rand...come for the vaguely kinky sex, stay for the self-serving, thoroughly reprehensible philosophy. Salon's Andrew Leonard asks if the recent economic downturn has discredited Rand's Objectivism once and for all, prompting -- as you might expect -- a war in the comments section between the true believers and the gleeful cynics.

Among the many funny comments, this one, reposted from here: "There are two novels that can change a bookish fourteen-year old's life: The Lord of the Rings and Atlas Shrugged. One is a childish fantasy that often engenders a lifelong obsession with its unbelievable heroes, leading to an emotionally stunted, socially crippled adulthood, unable to deal with the real world. The other, of course, involves orcs."

"So why do tech geeks love space? Though they may have the resources -- a trip to space will now set you back some $45 million -- this can't be the full answer: You don't see Donald Trump or P. Diddy signing up for an astro-mission. What makes it worth it for the tech geeks?" The Big Money's Julia Ioffe tries to ascertain why dot.com miliionaires pay out the nose for space travel. Uh, because it's there?

"'There's a documentary called Orphans of Apollo that's stated this well,' he explained. 'There's a generation of us, who are the tech leaders of today, who were universally inspired to go into science and technology because of the NASA Lunar Space Program. And the reason the movie is called Orphans of Apollo is because, in many ways, we feel orphaned by the fact that the space industry has not done a good job of capitalizing on that momentum of what many of us believed were the first steps into space, carrying the mission of human space flight farther and farther into deep space.'"

"The cultural climate is far different today, besides. Now, roughly 75 percent of Americans support an end to Don't Ask, and gay issues are no longer a third rail in American politics. Gay civil rights history is moving faster in the country, including on the once-theoretical front of same-sex marriage, than it is in Washington. If the country needs any Defense of Marriage Act at this point, it would be to defend heterosexual marriage from the right-wing 'family values' trinity of Sanford, Ensign and Vitter."

The NYT's Frank Rich reflects on the gay rights movement on the 40th anniversary of Stonewall. "No president possesses that magic wand, but Obama's inaction on gay civil rights is striking. So is his utterly uncharacteristic inarticulateness...It's a press cliché that 'gay supporters' are disappointed with Obama, but we should all be."

"As a society, we trust doctors to be more concerned with the pulse of their patients than the pulse of commerce. Yet the American Medical Association is using that trust to try to block a robust public insurance option as part of health reform. In fact the A.M.A. now represents only 19 percent of practicing physicians...Its membership has declined in part because of its embarrassing historical record: the A.M.A. supported segregation, opposed President Harry Truman's plans for national health insurance, backed tobacco, denounced Medicare and opposed President Bill Clinton's health reform plan."

And don't forget Sheppard-Towner: In his column this week, Nicholas Kristof take aim at the powerful American Medical Association. "'They've always been on the wrong side of things,' Dr. Scheiner told me, speaking of the A.M.A. 'They may be protecting their interests, but they're not protecting the interests of the American public.'"

"When 22 senators started working over the first health care overhaul bill on June 17, the news cameras were pointed at them -- except for NPR's photographer, who turned his lens on the lobbyists. Whatever bill emerges from Congress will affect one-sixth of the economy, and stakeholders have mobilized. We've begun to identify some of the faces in the hearing room, and we want to keep the process going." Clever, clever: Also on the health care front, an NPR photographer initiates a game of find-the-health-care-lobbyist. "Know someone in these photos? Let us know who that someone is."

Also in this weekend's trailer bin: Hillary Swank channels famed aviatrix Amelia Earhart in our first look at Mira Nair's Amelia biopic, also starring Richard Gere, Ewan MacGregor, and Christopher Eccleston. And vampire-of-the-future Ethan Hawke tries to find alternatives to a rapidly dwindling blood supply in the trailer for the Spierig brothers' B-movieish Daybreakers, also with Willem DeFoe and Isabel Lucas. They had me at Sam Neill.

Update: In a world based on the whole truth and nothing but, Ricky Gervais develops an exceedingly useful skill in the new trailer for The Invention of Lying, also with Jennifer Garner, Tina Fey, Rob Lowe, Louis C.K., Patrick Stewart, Jason Bateman, Jonah Hill, John Hodgman, Christopher Guest, Jeffrey Tambor, Nate Corddry, and, of course, Stephen Merchant. (And, if you stick around, you'll get one I missed earlier: John Cusack and child running away from scary pixels in Roland Emmerich's The Day After The Day After Tomorrow, a.k.a. 2012.)

Decision time: The trailer for Richard Kelly's The Box is now online, with Cameron Diaz, James Marsden, and Frank Langella. Hmm, I dunno. I liked the Matheson short story, and the Twilight Zone version from the '80s was solid enough. But I'm not sure how you'd pad this out to feature-length and not make it ridiculous. And, besides, Kelly still owes me money for Southland Tales.

"Although this is an extremely difficult time for her family and friends, we take comfort in the beautiful times that we shared with Farrah over the years and the knowledge that her life brought joy to so many people around the world." Farrah Fawcett, 1947-2009.

Also leaving us of late, Ed McMahon, 1923-2009. "'Quit? Oh, I'll never quit,' he told Entertainment Weekly in 2005. 'This is what I do. If I'm in a wheelchair, I can still do radio. I tell everyone that there is only one way that I'm going to go. I'll be on TV, we'll be going to a commercial break, and I'll look dead into the camera and say, "They'll be back. I won't." And that will be it.'"

Update: "'Michael Jackson made culture accept a person of color,' the Rev. Al Sharpton said. 'To say an "icon" would only give these young people in Harlem a fraction of what he was. He was a historic figure that people will measure music and the industry by.'" Michael Jackson, 1958-2009.

"'After more than six decades, the Academy is returning to some of its earlier roots, when a wider field competed for the top award of the year,' said academy President Sid Ganis. 'The final outcome, of course, will be the same - one Best Picture winner - but the race to the finish line will feature 10, not just five, great movies from 2009.'" Most likely realizing that a nod for The Dark Knight last year would've doubled their television ratings, the Academy Awards pads out to ten Best Picture nominees.

Ten, really? I know I pick 20 movies for my review round-up every year, but still: most years it's hard to come up with five or six worthy nominees, much less ten. It'd be better if they went to a system where "up to" ten movies were chosen, but not necessarily that many if the pickings were slim that year. In any case, maybe Hollywood needed an "Oscar Stimulus Package," but given that it's still the same people voting for the winners, I tend to think the Academy will probably continue to get it wrong most years regardless. Just looking at the past decade:

1999: American Beauty wins. Not a particularly poor choice by Academy standards, I guess, but the other nominees include a sop to the box office (The Sixth Sense) and by-the-numbers drek like The Cider House Rules and The Green Mile. (Only other worthy nominee: The Insider.) Meanwhile, many of the best and most groundbreaking films of the year -- Three Kings, Being John Malkovich, Fight Club, The Matrix -- are all overlooked.

2000: Gladiator. Terrible choice. The worthy nominees are Traffic, Crouching Tiger, Hidden Dragon, and *possibly* Erin Brockovich. Chocolat makes the cut thanks to the Miramax machine. Left unnominated: Requiem for a Dream, Wonder Boys, O Brother Where Art Thou, and High Fidelity.

2001: A Beautiful Mind. A stunningly bad choice, and easily the worst of the five films nominated. The Oscar should probably have gone to In the Bedroom or Fellowship of the Ring, although Gosford Park and (tho' I didn't like it much) Moulin Rouge! are respectable picks. Left off the wheel: Mulholland Drive, Memento, The Royal Tenenbaums, Ghost World, Amelie, and Sexy Beast.

2002: Chicago -- I never saw it, but not a particularly good year for film anyway. Gangs of New York, The Two Towers, and The Pianist all make sense as contenders. The Hours (another Miramax film)...not so much. Possible adds: The 25th Hour, Y Tu Mama Tambien, Far from Heaven, About a Boy.

2003: Return of the King runs away with everything, which is deserving but also feels somewhat dutiful after the previous two years. (FotR is easily the best film of the three, imho.) Most of the other nominees are well-chosen -- Lost in Translation,
Master and Commander, Mystic River -- with the possible exception of Seabiscuit. Other possibles include The Quiet American, Finding Nemo, Dirty Pretty Things, House of Sand and Fog, Monster, City of God, and L'Auberge Espagnole...but it's probably more likely that extra nods would've gone to the heaps of middling Oscar bait that year, like Cold Mountain, The Last Samurai, or 21 Grams.

2004: Million Dollar Baby. A certifiable stinker, and arguably Clint Eastwood's least-deserving movie of the decade. (Mystic River or Letters from Iwo Jima are closer to caliber.) It beats out The Aviator and Sideways, as well as Finding Neverland (Miramax) and Ray (never saw it). Off the board: Hotel Rwanda, Before Sunset, Garden State, Kinsey, The Assassination of Richard Nixon, Spiderman 2, In Good Company, The Incredibles, and -- most egregiously -- Eternal Sunshine of the Spotless Mind. If I had to guess, Closer and Kill Bill Vol. 2 (Miramax) might've snagged undeserving nods in a field of ten.

2005: Crash. Another woeful pick, it won over a respectable field of contenders (Brokeback Mountain, Capote, Good Night, and Good Luck, Munich.) That being said, Syriana and the best film of 2005, The New World, weren't even nominated. Neither were Layer Cake, Ballets Russes, A History of Violence, The Squid and the Whale, Cache, Match Point, The Constant Gardener, Grizzly Man, Batman Begins, or The Three Burials of Melquiades Estrada. All these -- and many others -- were better than Crash.

2006: Scorsese wins a charity Oscar with The Departed, beating out worthwhiles Letters from Iwo Jima (the best choice of the 5) and The Queen, as well as more dubious picks Little Miss Sunshine and Babel. The best film of the year, United 93, isn't nominated. Nor is Children of Men, The Lives of Others, The Prestige, The Fountain, Pan's Labyrinth, or Inside Man. It's reasonable to suspect that additional Oscar nods might've gone to the likes of The Last King of Scotland, Little Children, Notes from a Scandal, and The Pursuit of Happyness.

2007: No Country for Old Men -- A fine choice. I'd say this year Oscar almost got it right...but the other nominees are still somewhat suspect. Michael Clayton, ok, There Will Be Blood, sure. But Atonement and Juno? I'd rather have seen The Diving Bell & the Butterfly, Zodiac, The Savages, Charlie Wilson's War, In the Valley of Elah, The Assassination of Jesse James, Before the Devil Knows You're Dead, 4 Months, 3 Weeks, & 2 Days, or my favorite film of the year, I'm Not There, get their due.

2008: Slumdog Millionaire (ugh) beats out Milk, Benjamin Button, Frost/Nixon and The Reader. Of those, Milk and F/N are solid, and ideally would've been paired with The Dark Knight, The Wrestler, Let the Right One In, and/or WALL-E. Other possibles include Man on Wire, Snow Angels, Waltz with Bashir, Vicky Christina Barcelona, Iron Man, and The Visitor...although it seems more likely Oscar would've gone with Gran Torino, A Christmas Tale, Doubt, Revolutionary Road, or Valkyrie.

So, to review, in only one of the past ten years (2003) did Oscar pick the movie i'd argue was actually the best that year, although even that one feels a bit de rigueur. (Admittedly, they came close in 2007 as well.) In six of those ten years (1999, 2004-2008), my best film of the year wasn't even nominated. In four of those ten years ('01, '04, '05, '08), a -- to my mind, of course -- certifiably lousy film won Best Picture. And in three other years -- '99, '00, and '06 -- an at best middling movie won the top prize. Not exactly what you'd call a record of distinction.

On a Draft Day deal with potential title implications, Shaquille O'Neal joins LeBron James in Cleveland. (Phoenix, giving up on their ill-advised Shaq experiment, pick up Ben Wallace, Sasha Pavlovic, and the 46th pick -- so, this is a money move, basically.) To my mind, this is a solid move by the Cavs. Shaq may be in the tail-end of his career, but he's still good enough and strong enough to draw double-teams down low, which is exactly what Cleveland was missing this past post-season. Pick up a pure shooter or two to spread the wings and keep the D on Lebron honest, and the Cavs are looking deadly.

Other than Shaq, the other major move of late was Richard Jefferson to the Spurs for Bruce Bowen and Kurt Thomas, which puts a stop to San Antonio's slide in the West almost immediately, and should make them a contender again if everybody stays healthy. And ex-Knick and now-journeyman Jamal Crawford looks headed to Atlanta from Sacramento, where he'll undoubtedly put a lot of points on the board...but I don't really see him making that team a top-tier contender. At least in the Knick days, his D was atrocious.

Speaking of New York, they tried to move up the draft to No. 5, but now look to be hoping somebody decent falls to 8 tonight. They may also be trying to get Darko Milicic for Quentin Richardson, which sounds iffy on paper. But perhaps Darko has improved since his days as a notable draft day bust. In any case, we'll see how it all shakes out tonight at the Garden.

Update: The Knicks buy a late first round pick -- 29 -- from the Lake Show. "'Certain teams, they may want to preserve cap space for the next year or two and they may need to add players,' Kupchak said. 'A good way to add talent at a fixed price is to have a lot of draft choices and then you can still maintain cap space a year from now.'" And we all know what happens a year from now...

Update 2: Donnie gets Darko, and Arizona PF Jordan Hill at #8. [Full Draft.]

"Hollywood doesn't trust smart material. If you show them a really smart script. I actually had a studio head read that script and say: 'Wow, that's the best and smartest script that I've read since running this studio but I can't possibly greenlight it.' I asked why and he says 'How am I going to get 13-year-olds to show up at the theater?'" Perhaps a bit self-servingly, screenwriter-director Frank Darabont discusses the studio problems he's had in adapting Fahrenheit 451. "The movie was basically too smart for this person, too metaphorical, etc., etc. It's a bit of a battle you've got to fight."

In the interview, Darabont also talks about another forthcoming King adaptation he's working on (my personal favorite King story): The Long Walk. "I'll be making it, I'm sure, even more cheaply than 'The Mist' because I don't want to blow the material out of proportion. It's such a very simple, weird, almost art film-like approach to telling a story. So let's do it honestly, let's do it that way. Let's not turn it into "The Running Man." So we'll make it down and dirty and cheap and hopefully good."

"It's worth remembering how Vincent Canby began his review on June 30, 1989, in the New York Times: 'In all of the earnest, solemn, humorless discussions about the social and political implications of Spike Lee's Do the Right Thing, an essential fact tends to be overlooked: it is one terrific movie.'"

In The Root, Henry Louis Gates reflects on the 20th anniversary of Do the Right Thing, and checks in with Spike Lee on the film. "None of us back then could possibly have imagined all that has transpired for our people, and for this country, in the intervening two decades: a black prince and princess so elegantly sitting up in the White House, and their very first date was in a movie theater in 1989, watching--what else? Do the Right Thing."

So, the big political story of the week: the strange disappearance and eventual mea culpa of my home state governor. As I said here, I try to avoid posting on sex scandals as much as possible -- In a perfect world, all of this private behavior would be off the table for both parties. Still, regarding this imbroglio, my feeling about his press conference yesterday was very akin to Gary Kamiya's at Salon: "[T]his was not another blow-dried, prefab confession. It was unscripted. It was so intimate it was almost unwatchable."

Now, I disagree with Gov. Sanford quite a bit politically, obviously. I was impressed by his op-ed on Obama during the SC primary last year, but he lost a lot of goodwill with me with his grandstanding on stimulus funds a few months ago. Regardless, whatever the moral hypocrisy and dereliction of duty involved in this case, it's just sad to see a guy so obviously lost in the wilderness of amour fou. For whatever reason, he didn't have the usual politician's armor on at all yesterday, and it was painful to watch somebody writhing on the horns of a dilemma of the heart so publicly. He screwed up, big time, and his behavior is indefensible on several levels. Still, I have to admit, I sorta feel for the guy. (And, while I think John Dickerson's recent hectoring in Slate was a bit much -- particularly since he usually revels in the manufactured controversies and studied glibness that characterize so much useless political coverage these days -- to my mind nobody deserves the godawful nightmare of having one's mash notes published for all to see. That's just a special kind of Hell.)

"The games are fluid. There's a good energy on the court. People talk on defense. When Salazar finally gets in, it's obvious he is actually pretty athletic, and he has a lot of hustle. He's not easy to cover. Someone yells, 'Who's got Secretary?'" By way of a college friend, ESPN looks at Pres. Obama's "Power Game," and the ensuing newfound popularity of hoops in DC. (Apparently, in the Big Game, they don't call fouls, but rather chalk them up as "enhanced defensive techniques necessary to Keep Our Lane Safe." [Rimshot] Thanks, I'll be here all week, be sure to tip your waiters.)

Anyway, the last time I lived in DC it was generally pretty easy to find a court on a weekend -- We usually set up shop on either end of Adams-Morgan (or later, after I moved to VA, right down by the King Street metro), and the other folks playing/waiting to play were locals of some variety, not just aspiring politicos. I did occasionally play in one "power game" of sorts back then, which involved a number of folks from a liberal-minded journal of some repute. It was probably the most Type-A athletic endeavor I've ever been involved in, and that's coming from a guy who played high school sports in the South and spent four years among Ivy League rowers. With all due respect, I prefer the random pick-up games, I think.

"But to retire the very concept of 'selling out'? To dismiss the notion that an artist's reputation could ever be sullied by wanton greed? Nuh-uh. I can't allow it...We as a culture must reserve our right to shower disdain on the Black Eyed Peas." Old friend Seth Stevenson reads the riot act to will.i.am and the Black Eyed Peas for shilling for Target...and, apparently, anyone else who comes down the pike. "Observe how eagerly -- how incredibly naturally -- the Peas embrace the role of discount store shill. Stop for a moment and ponder the fact that will.i.am has a giant Target logo on his hat. A line must be drawn. I draw it here."

"The stunning 2-0 victory by the United States over Spain -- the best team in the world -- is probably the greatest victory by the men's national soccer team. And when you think of it, the victory Wednesday is probably the second-biggest upset by an American team, behind only the 1980 Miracle on Ice by the hockey team over the Soviet Union in the Olympics." The NYT's George Vecsey sings the praises of the surprising 2-0 US win over #1-ranked Spain yesterday in the Confederations Cup.

I happened to catch the entire game and, while Spain looked like the dominant team for most of the match (particularly the top of the second half, when they unleashed a barrage of quality shots on goal), USA definitely capitalized on their limited offensive opportunities -- I thought goal No. 2, above, was particularly pretty.

"'There are times when an abortion is necessary. I know that. When you have a black and a white,' he told an aide, before adding, 'Or a rape.'" Another round of newly-released Nixon tapes sheds more light on the dark and troubling imaginings of the 37th president. "'What I really think is deep down in this country, there is a lot of anti-Semitism, and all this is going to do is stir it up,' Nixon said...'It may be they have a death wish. You know that's been the problem with our Jewish friends for centuries.'" Class act, this guy.

"There is the usual Burton-esque ghoulishness (Helena Bonham Carter's Red Queen, whose favorite retort is 'Off with their heads,' has a moat filled with bobbing noggins), but Zanuck assures most kids can handle it. 'The book itself is pretty dark,' he notes. 'This is for little people and people who read it when they were little 50 years ago.'"

USA Today obtains some stills from Tim Burton's forthcoming adaptation of Alice in Wonderland, including some unsettling shots of Johnny Depp, Helena Bonham Carter, and Anne Hathaway as the Mad Hatter, Red Queen, and White Queen respectively. Also in the cast: Mia Wasikowska as Alice, Alan Rickman as the Caterpillar, Christopher Lee as the Jabberwock, Michael Sheen as the White Rabbit, Noah Taylor as the March Hare, Matt Lucas as the Tweedle twins, Crispin Glover as the Knave of Hearts, and Stephen Fry as the Cheshire Cat.

"'The Iranian government must understand that the world is watching,' Obama said in a written statement. 'We call on the Iranian government to stop all violent and unjust actions against its own people.'"

As protests -- and violence -- escalate in Tehran after last week's dubious election returns, the world increasingly looks to social networking sites to ascertain what's really going on in the streets. The revolution may not be televised, but -- so far at least -- it seems to be managing quite well with Twitter: "This is a country where you have tens of thousands of bloggers, and these bloggers have been in a situation where the Internet has been filtered since 2004. Anyone worth their salt knows how to find an open proxy [to get around government firewalls and filters], knows how to work around censorship...The Iranian government, by filtering the Internet for so long, has actually trained a cadre of people who really know who to get around censorship."

Update: Over at Salon, Iranian-American journalist Hooman Majd (who's making the rounds -- I saw him on the Lehrer News Hour yesterday as well) argues that the role of social networking has been vastly overstated: "More people have access to the Internet in Iran than other Middle Eastern countries but often it's dial-up, it's slow, they don't do it like we do all day long...The depiction of the Internet revolution isn't quite accurate. We're putting our own image onto Iran. Of course there are people Twittering from the demonstrations; they're just not representative of the vast majority of Iranians. What was so heartwarming about this whole thing is that the Iranian people stood up in mass and said you can't take this away from us."

With the involvement of Natalie Portman making the studios happy, it now appears Darren Aronofsky's Black Swan is back in play as the director's next project. "Swan centers on a veteran ballerina (Portman) who finds herself locked in a competitive situation with a rival dancer, with the stakes and twists increasing as the dancers approach a big performance. But it's unclear whether the rival is a supernatural apparition or if the protagonist is simply having delusions." (As I noted here, Aronofsky's been researching with all the right ballerinas for this one, imho.)

"The future is here and we are not too far off a new age of space. It is not just about private astronauts going up, it is about bringing the cost structure down and about new medicines, solar power in space and the entire range of scientific benefits that can come from it." After many years of discussion and planning, ground is broken on Spaceport America in New Mexico, "the world's first purpose-built commercial spaceport." Any and all donations to GitM for one of the $200,000 spaceshots soon to commence from there will be greatly appreciated.

"While one can certainly use zombies to express all kinds of ideas, I would argue that at heart, the genre is a progressive one...Surviving the tide of zombies requires community and mutual responsibility. What could be more progressive than that?" In The American Prospect, Paul Waldman ruminates on the political economy of zombie flicks. It is true, we on the Left tend to be more interested in braaaains... (Via FmH.)

"When you create a person in The Sims 3, you can give them personality traits that determine their behaviour. Kev is mean-spirited, quick to anger, and inappropriate. He also dislikes children, and he's insane. He's basically the worst Dad in the world." Oh, think twice -- It's just another day for you and me in Sims paradise: By way of Web Goddess, an english game designer is chronicling the misadventures of Alice and Kev, two Sims she's created to be maladjusted and homeless. I haven't played a Sims game since the original iteration in 2000 -- sounds like it's come pretty far afield.

"In the summer of 1959, Allen Ginsberg, the generation's visionary poet of exuberance and doom, wrote in the Village Voice: 'No one in America can know what will happen. No one is in real control. America is having a nervous breakdown...Therefore there has been great exaltation, despair, prophecy, strain, suicide, secrecy, and public gaiety among the poets of the city.' He might as well have written that today."

In Slate and per his recent book, Fred Kaplan makes the case for 1959 as a Very Important Year, and uses the groundbreaking flight of Luna 1 as that moment's muse. "[I]t, and the race to space that it triggered, helped create the climate in which all those other breakthroughs were possible or, at least, appealing to a broad population. The breakdown of barriers in space, speed, and time made other barriers ripe for transgressing." And folks argue space exploration isn't important...

"That's why this Froomkin firing is so revealing. The fact that one of the very few people to practice real adversarial journalism in the Bush era was decreed not to be a real 'journalist' -- and has now been fired by the Post -- is one of the most illustrative episodes of the past several years regarding what the real function of the establishment media is." Glenn Greenwald, Paul Krugman, Steve Benen, and Andrew Sullivan, among others, respond with justifiable outrage to the WP's recent firing of Dan Froomkin.

What they said. So, let me get this straight: Froomkin -- a guy who's spoken-truth-to-power during both the Bush and Obama administrations, and who's been one of the few "killer apps" in the WP's dwindling journalistic arsenal -- is shown the door while paleolithic dinosaurs like Charles Krauthammer are still on the payroll? Riiiight. Particularly in light of the death spiral of academia, it's just plain depressing to watch the establishment media burn away its last vestiges of integrity these days. It's just not a good time for people of the writerly persuasion, no matter how you cut it.

Update: "When I look back on the Bush years, I think of the lies. There were so many." Froomkin signs off.

In the trailer bin of late: Rachel McAdams gets another notebook, wherein she keeps up with the comings and goings of future husband Eric Bana, in the new preview for Robert Schwentke's The Time-Traveler's Wife. (I haven't read the book, but was hoping this movie would seem more sci-fi and less rom-com.) Robin Williams finds the Dead Poets Society life considerably less appealing after two decades in the red band trailer for Bobcat Goldthwait's World's Greatest Dad. (Definitely maybe.) And Jesse Eisenberg and Woody Harrelson take more than a few pages from Shaun of the Dead in the new trailer for Ruben Fleischer's Zombieland. It's looking missable.

"'You get so hard living here," he said in a gravelly, mournful voice. 'But pets open up that heart center. There is something about the unconditional love; they clean the blues off of you. 'That's their mission. That's why a lot of New Yorkers have pets.'" The NYT reports in on the passing of Pretty Boy, stray cat and late prince of the East Village.