Electric Shadow

Culture On Demand: Reading 4K Tea Leaves, or: Apple's "Very Grand Vision" for TV

Late last night, All Things D posted the full video of yesterday's Tim Cook interview.

At the ten-minute mark, they dive into discussion of TV. I found it interesting that All Things D themselves omitted "very" in quoting Cook on what Apple is doing about "fixing television". Following Microsoft, Sony, and Nintendo playing their hands in the set-top space, Cook was exactly as cagey about TV as he was last year. Of completely inconsequential interest: the roadblock ads that are running on All Things D this week appear to all be for new $7000 Sony 4KTVs.

I'm fairly convinced that at some point in the future, Apple is going to release both a revamped "hockey puck" and a physical TV set.

Macs, Retina, and 4K

Look to the iMacs and the Thunderbolt monitor released over the last couple of years to see Apple refining glare, viewing angle, and contrast quality. The radically slim profile of the newest "Late 2012" iMac displays reveals a continued drive toward thin, colorful, and beautiful monitors.

What no one really talks much about are the aspect ratio and resolution of the 27" iMac and the Thunderbolt display, which both feature a 16:9 panel that runs at 2560x1440. It isn't an enormous leap over 1080p, which is where it appears the vast majority of 22-inch and larger computer displays are bizarrely (to me) topping out. Jump down to the 15-inch Retina MacBook Pro, and you have a 2880x1800 display.

The resolution of 4KTV is 3840x2160.

I would be surprised if Apple didn't wait to release a TV until it could be more than "just" an overhauled AppleTV puck crammed into a 1080p display. It has to be more than a gorgeous aluminum and glass shell. I don't know why Apple would release less than a 4K television.

Apple is pushing all of its products toward the Retina ideal. No matter what unfounded "channel sources" tell some analyst who gets quoted in the Wall Street Journal, Apple's own product evolution patterns have proven time and again to be the best way to read their moves. Apple plots a very steady, concerted course, and that's visible in that for two straight years, we've gotten the same kind of dodge at All Things D from Tim Cook on TV. Frankly, we got almost the exact same rhetoric from Steve Jobs at D8, with some adjectives swapped. Based on their overt focus on "resolutionary" devices, I'm going under the assumption that the Apple "iTV" is a matter of when, and not if. They're massively bought-in with the display industry, and the TV is the one mass-market screen they don't make as of yet.

So, when do we get this fancy Apple television? Everyone, including Kara Swisher on stage, has been pulling a Veruca Salt and demanding it now. Since Apple talks like they're waiting on something, my assumption is that it's for 4K panel pricing to go down. That way, they can sell a TV at a price that people will actually pay. No matter what vestiges of the Apple Pricing Myth still exist, they won't put a TV on sale that costs $7k, no matter how pretty it is.

 

The Puck

The AppleTV, as it currently exists, could very well be what we have through the end of 2013. They may finally do a substantive overhaul of the OS. They may add more apps (channels). I hope they at least take a cue from Roku and add system-wide search. Maybe they'll rev the device again with a yet-faster processor.

The Xbox One and PlayStation 4 will both cost around $500 this fall. The Wii U is not likely to budge from $350. I got a hearty laugh this week from well-heeled game and media industry columnists who bent over backwards three times to explain how badly their tech-averse parents will be desperate to pay $500 for an expensive, aircraft carrier-sized bloatbox. For $350-500, my mother would much more likely get an iPad and, depending on the iPad model, an AppleTV, both of which she would actually use.

The sound logic for leaving the puck in play is that it's the actual TV's Trojan Horse, thanks to an extremely low cost of ownership. Even after the introduction of the full-on TV set, it turns any non-Apple TV into most of whatever that thing ends up being and doing. This disparity already exists traditionally in the Apple ecosystem, with the best example found in comparing the iPod touch and the iPhone.

The two devices are much closer in feature set and software support than ever before, but the iPhone is always king when it comes to internals, most prominently in the processor, RAM, and camera. The question then mutates into pondering what Apple will add to the AppleTV to make it more compelling, as well as what they will hold back for the actualt TV hardware.

 

Informed Outside Speculation

Let's start with a couple of things that Apple will not do.

Unlike Xbox One, there won't be some sort of ever-present, "always listening" system in a physical or functional form like the Kinect 2. That sort of surround-speaker-sized box would never get into (much less past) the concept design phase. The moment I saw that bit in Microsoft's keynote, I could instantly picture Phil Schiller's takedown: "the new AppleTV is only listening when you tell it to listen, and it won't track your heart rate, the number of people in the room, or whether you're in your underwear".

Tim Cook said himself that Apple is not in the content creation business, nor does it want to be. That's a smart move on Apple's part.

Indicative of what I think they will do on the TV side of things is the way in which Cook chose to answer a question regarding "new services" late in the interview. He indicated that Apple is more focused on finding more applications of existing services than they are in creating new niche services to see what sticks (like Google has). He made specific mention of Siri, FaceTime, and iTunes.

The AppleTV puck needs better navigation control than the gumstick remote it comes with currently. "Just get an iPod touch/iPhone/iPad" is not a solution to this. I don't see them going bulkier with something like Roku's RF-based, accelerometer-enabled Wiimote pseudo-ripoff...but maybe Apple will at least make a new RF-based remote that finally frees us from the tyranny of line-of-sight.

With that addition, AppleTV can have Siri, which would be activated by a button press and hold on the remote, just as on iDevices. The key is not having a remote that does not require line-of-sight. Siri has to "just work", right out of the box. System-wide search ("Siri, I want to watch The French Connection") should be part of that. Why else did they spend so much time working on and showing off Siri finding info about movies, actors, directors, and so on? Why stop at buying movie tickets? Why not build on this function in a different application?

There's no way the puck gets a FaceTime camera. People would have to attach it to the top of their TVs like the original iSights. The FaceTime camera will go right where it is on Apple's existing displays when they make the TV. Gesture control could theoretically be implemented, but it would be odd of Apple to require that the camera be on at all times. They actually care about privacy and design things around that, instead of constantly tying themselves in knots trying to look like they do (see Microsoft's last week of press).

 

The question mark for me is iTunes, and what "iTunes" continues to mean. Cook talked about it as this massive content ecosystem full of this and that, but functionally, it's a storefront.

Apple likes to throw around the buying power their users offer with record labels and studios. Apple would face anti-competitive inquiries if they fully blocked other storefronts from AppleTV, but they haven't opened the platform to very much paid video content outside of iTunes. Those few include Netflix, Hulu Plus, MLB, and NHL apps.

Amazon Instant is still missing from the AppleTV app list, even though it's on all other set-top app boxes. It presents the best cross-section of problems. Unlike Netflix and Hulu, there is "purchase and own" content in that Amazon service, which is protected by Amazon DRM. It would be inelegant if the Amazon Instant app for AppleTV lacked all of those purchase options (just like the iOS app does), only giving Amazon Prime users access to their free streaming content. Then again, "inelegant" has never stopped Amazon before.

Will we see Apple open up so that channel apps like Warner Archive Instant, Acorn, Crunchyroll, and others could pop up as they do on Roku, Blu-ray players, and so on? I don't see how they can avoid that, but they will do everything possible to delay that for as long as they can, and make sure that the interface defaults to driving people to spend money with iTunes. If there's any monopolistic thing Apple should be worried about, it's limiting which services you can buy or rent content from on their set-top service. Their saving grace on iOS has been the 70-30 split standard, which puts it on the vendor to choose whether to accept those terms.

By iTunes, did Cook also mean the App Store? Apple has admittedly never been serious about console-style, "real" games, but their iOS game developers already speak the language that the TV would. It would be interesting to see what they could come up with that isn't just an iPhone or iPad game over AirPlay. All three major console manufacturers have multiple things going against them in the indie developer space.

 

This is very much an open topic, and it won't be closed anytime soon. I'll revisit all of this after WWDC and E3.

Don't expect any direct TV talk at WWDC. See Jim Dalrymple's excellent summation of where your expectations should rest.

What you should pay attention to is the further convergence and interaction between iOS and OS X, which will take center stage. The design and UI choices found in both iOS7 and OS 10.9 will be especially indicative of however it is that Apple is actually thinking about TV. Remember, they've been working on this for years.

2.4 Million Watch CANDELABRA on HBO

THR reports that Steven Soderbergh's Behind the Candelabra is the most-watched "HBO Film" in nine years.

Contrary to the Twitter hivemind, there is no mathematical formula that will tell you, in millions of dollars, exactly how stupid every studio in town is for not putting it in theaters nationwide. In the same breath, I'll add that Magic Mike was a major gamble on paper to Warner Bros., even though it went on to be one of the biggest successes of 2012. We could play "what if?" until the end of time.

What's certain is that we still live in an age where mainstream industries are scared to death of male sexuality in any form, and not just the gay one. Male Gaze theory and voyeurizing woman? That's what keeps America (and the world) strong!

Wouldn't it be great if you could be an HBO subscriber without having a creaky old cable subscription? I bet they could do more of these and have those one-time-nine-years-ago ratings more regularly.

Culture On Demand: The Future of Hulu

This piece at Deadline is half informative, half pot-stirring.

When CEO and caretaker Jason Kilar left, that was a big sign of uncertainty and instability. This compounded concerns after rumors spread of News Corp and Disney possibly pulling out their 1/3 ownership stakes due to disagreements over the focus of the business (paid vs. free). The idea being that with them, their content would also go. Either or both would be a critical blow to Hulu.

Now, eight entities are actively bidding for the service, including an unnamed pay-cable channel. Wouldn't it be crazy (or great) if that turned out to be HBO? Amazon is nowhere to be seen. Some entries on list aren't terribly exciting:

KKR & Co.
Silver Lake Management with William Morris Endeavor
Guggenheim Digital
Time Warner Cable

The first three (SLM and WME bidding together) are private equity firms. They're odd fits or not likely to bid for the amount or package that it's speculated Hulu's board will go for, just as in the previous bidding process. Time Warner Cable is bidding to buy in an ownership stake, which is allegedly the opposite of the full buyout that Hulu's trio of stakeholders want.

On the very interesting side:

DirecTV

They have a very dedicated satellite TV customer base, but they want a piece of the streaming business. This could be a good asset for that, but only if they go with massive-scale thinking. My assumption is that they would want to use Hulu as an enhanced pipe that offers the content Hulu already has in addition to DirecTV's cable channel offerings. Content deals for "Hulu" would be lumped in with their existing negotiations, with the paid Hulu service effectively becoming the infrastructure of "DirecTV Instant".

For example, they could ditch DVR recording and shift to cloud-accessible files that don't need a hard drive or massive box like they do now. Instead, an XML file lets users pick up where they left off, wherever they log in. The bad news for existing users is that, in theory, the Hulu they know now might cease to exist, just like Blockbuster rental stores have.

On that note...DirecTV's ownership of the flagging Blockbuster service could piggyback into this, making a revised Hulu UI the unified DirecTV interface for cable subscription, clip videos, and VOD. There are so many options on the table, there's no solid way of knowing what DirecTV is thinking of for sure. If they're really in the game, they have to be thinking of something this big, rather than an acquisition that would leave Hulu largely untouched.

Chernin Group

Peter Chernin helped start Hulu by both bringing in capital partners and taking Jason Kilar's side every time that it mattered. I would be surprised if he weren't going for the whole thing, with an eye to run it in the successful way Kilar did. The open question then (and for any all-in buyers listed here) is how steep a price current Hulu owners Fox/Disney/Universal will ask for the content they are currently licensing to themselves after offloading Hulu itself.

Yahoo

This could be a great addition to Marissa Mayer's Yahoo-from-the-ashes campaign, in a mold that I would hope is different than the Tumblr acquisition. I'm not the only user who thinks that Hulu needs a big UI overhaul, across set-top devices and native apps alike.

Pushing all of Yahoo's exclusive video content to Hulu and leveraging Yahoo's existing advertising business feels like an excellent match. YouTube has an uphill battle in getting people to pay for anything, but Hulu has a multi-mixed model that encourages users to pay for Hulu Plus. Yahoo would then have a long-term model for their funding of original content that doesn't involve it getting lost in the glut of "anyone can upload" that is YouTube.

Yahoo-exclusive series like Electric City and Burning Love have been seen, but not as broadly as they could have been on a hybrid Ya-Hulu service. If I ended up coining that "Brangelina-ization", I hope someone credits me.

More interesting to me than all of that? Former CEO Kilar and former CTO Richard Tom have been recruiting for a new stealth startup in Los Angeles. Kilar's brilliant blog post about the future of TV still resonates:


Distributors will certainly play a role in the future of TV, but we believe that three potent forces will be far more powerful in shaping that future: consumers, advertisers and content owners.

Consumers have spoken emphatically as to what they want and what they do not want in their future television experience. What we’ve heard:

* Traditional TV has too many ads. Users have demonstrated that they will go to great lengths to avoid the advertising load that traditional TV places upon them. Setting aside sports and other live event programming, consumers are increasingly moving to on-demand viewing, in part because of the lighter ad load (achieved via ad-skipping DVRs, traditional video on demand systems, and/or online viewing).
* Consumers want TV to be more convenient for them. People want programs to start at a time that is convenient for their schedules, not at a time dictated to them. Consumption of original TV episodes will eventually mirror theatrical movie attendance: big opening Friday nights, but more consumption will be in the days and weeks afterward. Consumers also want the freedom to be able to watch TV on whatever screen is most convenient for them, be it a smartphone, a tablet, a PC, or, yes, a TV.
* Consumers are demonstrating that they are the greatest marketing force a good television show or movie could ever have, given the powerful social media tools at consumers’ disposal. Consumers now also have the power to immediately tank a bad series, given how fast and broad consumer sentiment is disseminated. This is nothing short of a game-changer for content creators, owners, and distributors.

Ye Olde Soderbergh Shirt Shoppe

Thankfully, Soderbergh did not call his True Cineaste Emporium the above (nor The True Cineaste Emporium).

Instead, he chose Extension 765, a reference to Coppola's The Conversation. Slate did a great job creating a cheat sheet for hipsters who want to pretend they're like, so totally into Friedkin's 70's ouvre. In true hipster fashion, the only one I didn't know was the one for The Best of Everything. My favorites are for Marnie, Saboteur, and under-appreciated shot-in-Austin Soderbergh picture The Underneath.

The next time I have a big pile of money to throw at a new t-shirt wardrobe, this is where it goes. If you order four shirts or more, they send you a "bonus shirt" that they can't describe for whatever reason. Someone go buy me four shirts. I wear a large. Thanks in advance.

Also worth looking at, the Extension 765 stationary that Soderbergh had made. Did I mention that The Underneath is really good?

Not pictured: baseball jersey-style "American Newsreel Inc." shirt

The "MOVIES!" Network: Now Broadcasting Over-the-Air

Yesterday morning, a new movie network appeared over-the-air as a sub-channel to Fox-owned stations across the US. It's called "MOVIES!", and it's on the air 24 hours a day. My wife stumbled across it this evening just as Mel Brooks' High Anxiety started. The next movie on? Silent Movie. This sounds terrific, but I've a few caveats before you start thinking it's the best thing ever. The good news is that I find it's a great addition to the wide-open sub-channel space, and is bound to improve over time in areas where it's lacking at launch.

From the Blu-ray of An Affair to Remember

MOVIES! is SD-only, and there are some really gross picture artifacting issues that arise regularly. When Mel Brooks runs from pidgeons in High Anxiety, everything goes all blocky. This isn't a result of reception issues, but rather, broadcast signal strength.

It's "free" over-the-air broadcasting, but some boosted signal will improve the likelihood that people will stick with it. I don't expect that most are massive picture quality obsessives like me, but crap looks like crap looks like crap.

The channel is commercial-supported, but thankfully, the ads are not so frequent nor lengthy that they defeat my interest in watching a movie on TV that I have in much higher quality on the shelf. The feeling of the program flow is like the old days of weekend afternoon movies, which I like very much. This is in part thanks to ads like the ones for new-fangled catheters (hosted by Chuck Woolery) or AAG insurance (hosted by a goateed Senator Fred Thompson).

The programming is pretty diverse, with a regular patch of westerns and/or detective stories around the middle of the day. Each evening looks like a double feature followed by an encore of said pairing, with a late-night movie after. Tonight's is Anastasia and An Affair to Remember. The next day is The Star Chamber (starring Michael Douglas, and just out on Blu-ray) and The Sicilian Clan with Alain Delon. Others coming up over the next week include Capone (1975) and Roger Corman's The St. Valentine's Day Massacre, and a Mansfield to Day/Hudson double bill in The Girl Can't Help It and Do Not Disturb.

Then on June 1, something goofy happens. They start doing some syndicated TV crap from 10am-1pm, with movies the rest of the day. Most people including myself are working at that time anyway, but it's odd. The calendar only goes through June 2nd, so who knows what they plan after that point.

What is on there reflects some actual programming acumen, rather than throwing darts at DVDs tacked on a wall.

On the business side of things, the channel is run by the people of Weigel Broadcasting out of Illinois, who added dedicated MOVIES! execs earlier in May. The channel exists thanks to a deal with owned and operated Fox Television Stations. The content pool they're drawing from includes the entire 20th Century Fox back catalog. If the channel is successful, it could expand to more markets where Fox owns and operates affiliates. I would speculate it would also be offered to non-O&O Fox stations at some point, too.

 

In a media landscape full of expectations and prognostications about TV apps, omnivorous mega-boxes, and "smart" TV, something like MOVIES! might seem quaint or out of place, but I think it is quite the opposite. Whether something like this translates to the theoretical "TV app" future sooner or later, I think it's inevitable. The owners of these massive content libraries are smart to start using them to bring in revenue by actually getting the content dusted off and out of the vaults. That isn't to say that content deals with Netflix and Hulu are dead, but this is a good example of content owners leveraging the considerable arsenals they have under much more direct self-control, but with a layer of generic, unfettered branding.

I know at a glance that all the movies are Fox, but the un-branded naming of MOVIES! coupled with varied types of content prevent a reflexive reaction to whatever the word "Fox" means to anyone. I'll be interested to see what's on after next week.

Screen Time #37: Peter Weller in "Duke Ellington's Funeral"

This is a new addition to the "personal favorite episode" collection. Within minutes of the episode's posting, I got a guy compaining that we didn't warn about spoilers for The Iliad and The Odyssey.

As always, full shownote links can be found on the episode page. Below is a watching/reading/listening list of watch/read/listen-able things discussed in this week's show. This post is usually for general reference, but I actually think using the below as a binge playlist makes for a really solid Memorial Day Shut-In Weekend.

Peter Weller: PhD, and responsible for some out of a thousand faces

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Disc Roundup: Weeks of 7 & 14 May 2013

Welcome back to an old feature made new. More about how it works at the end of the article.

Individual releases are listed in no particular order. Assume Blu-ray on all unless otherwise noted. Click on the links to purchase at Amazon. This supports the site and this feature.

These posts are periodically updated with more info. Follow the Arthouse Cowboy twitter feed for notifications of additions.

The Great Escape

Superman Unbound

Cloud Atlas

3:10 to Yuma (Criterion Collection)

Jubal (Criterion Collection)

Ghostbusters "Mastered in 4K" Blu-ray 

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XBox One and the Extinction of "Old" Console Gaming

I have a whole lot to say about where everyone is placing their battleships, and this is just a bit that I've been thinking about since the XBox One announcement. I want to resist any comment until after E3, but I'm not convinced a lot of this will change, so here goes.

Microsoft is obsessed with this new one being the "one box to rule them all", the way they're pitching it. Their keynote was fuill of "TV" this and that. Their pitch is not so fundamentally and functionally different than that of the PlayStation 4. Microsoft's edge is theoretically in console-exclusive content.

They've been easier to develop for since the beginning of the past generation, too, which helps...but indies are leaving them in droves since XBox 360 XBLA games won't work on the new rig, which is sheer insanity on their part. You're telling me their beast-like new console can't run an emulator runtime so you can play Super Meat Boy? Why kneecap the biggest opportunity for new user adoption in a space where you're already leading?

The move to curb used game sales is not a surprise, and isn't something consumers can do much about if they choose the XBox One as the box in their house.

That's a big "if", and not because hardcore gamers are screaming about used games, nor because it isn't backward compatible.

The true test to how complacent and fully owned their current and future audience is will come in users' acceptance that the new XBox Kinect is "always listening":

In response to a question about whether that functionality means that Kinect is always on, Link said that Kinect is always listening, but in a limited capacity. It also helps ensure developers can count on the peripheral, he said.

"The Kinect has a variety of settings," he said. "You know, it's always available to the system, so ... you can count, as an application developer or a game developer, [that] everyone's going to have a Kinect. You always have that stream available. And then, you know, there are settings, obviously, in the console to be able to change the settings of how your Kinect is used, if you're interested."

The always-on functionality even when the console is powered down comes courtesy of "multiple power states," he said. At its lowest setting, which Microsoft refers to as "wake on voice," the peripheral is "listening" for specific commands.

That creeps the hell out of me, and means I won't have one in the house.

Die-hard Halo fans (along with other XBox-only titles) may very well accept XBox Big Brother One because "that's where Halo is". I desperately want this to be Topic One for this weekend's Critical Path #86.

Oh yeah, Spielberg is doing a live-action Halo TV showthat XBox Live users get some sort of exclusivity on in a way that hasn't been 100% confirmed.

Richard Fallon

I met the Emeritus Dean of FSU's School of Theatre shortly after moving to Tallahassee for college. I never took a class from "Mr. Theatre", since he stopped actively teaching before I could. He would lecture in All School meetings. I saw him do these talks with fervor and power as recently as 2006, the same year in which he came to see me in a hybrid radio theatre production of David Mamet's The Water Engine. He was my neighbor when I lived down the street in a house full of Acting majors. When I directed my first real play for the local community theatre, he gave me insightful notes after seeing it for the first time. He asked me and dozens of others to help him get a production of 110 in the Shade off the ground at any theater anywhere in town.

Dick Fallon started his career as a kid, and encouraged generations of artists to hold on to a childlike sense of wonder:

In his childhood, Fallon starred in the radio show, "Dick Armstrong, All-American Boy." Later, as a Fulbright scholar in England, he was influenced by the British repertory theater system and subsequently made it his mission to build a bridge between university theater and professional theater. In addition to establishing the conservatory here, he founded FSU outreach programs at the Jekyll Island Music Theatre in Georgia and the Burt Reynolds Institute for Theatre Training in Jupiter.

"His radio persona was his persona in life," said Thomas. "He was the great enthusiast, the can-do-anything All-American boy. And he devoted his life to making theater available to everyone."

NYC's Film Forum Retro Dedicated to Donald Richie

I jumped over to the Film Forum website to look something up about their Ozu retrospective, and found that it is now officially dedicated to the memory of Donald Richie. The program is very densely-packed, and as usual, I'm insanely jealous of a NYC retrospective series.

The good news for Austinites is that we might just be getting some Ozu early this fall. A conversation last night with Austin Film Society Director of Programming Chale Nafus resulted in what seems to be the fast-tracking of a rather unique event for the fall.

I mentioned to Chale that one of my favorite bits of Ozu trivia is that he remade more of his own movies than possibly any other major director. I've long wished for the right venue and timing to do a film and food event with Ozu, where the first feature is a silent (something like I Was Born, But... or A Story of Floating Weeds), everyone heads to an adjoining hall to eat Japanese food, and then the second feature is the sound/color remake (Good Morning or Floating Weeds).

Chale added that AFS is hoping to do more silent movies with live accompaniment by Austin's own Graham Reynolds, and that this would be a great fit. In general, Chale seems to have loved the idea, and it's apparently at the top of the pile for fall planning. Now that AFS has its own dedicated art house venue, the Marchesa Hall, they can actually do stuff like this. I couldn't be happier.

Soderbergh and "Spielberg's Job"

I transcribed the following from the podcast of yesterday's Fresh Air, which featured a Terry Gross interview with Steven Soderbergh. The primary topic of conversation is Behind the Candelabra, but they also discuss his Twitter novel, the fact that he's not "retiring" from movies so much as taking time to think, and perhaps most interestingly, the beginning of his fascination with directing:

TERRY GROSS: When did you first become aware there was such a thing as a "director" and the director had a lot to do with why you liked a movie when you were watching it?

STEVEN SODERBERGH: When I was twelve.

TERRY GROSS: Through watching what?

STEVEN SODERBERGH: Jaws.

TERRY GROSS: Really?

CROSSTALK
GROSS: Cause of the suspense? Cause of the-- // SODERBERGH: That was the first--

STEVEN SODERBERGH: No, it was just...I-I came out of that film in St. Petersburg, Florida in the summer of 1975, and my relationship to movies had completely changed.

I had always seen a lot of films, 'cause my father loves movies, but they-they...in that two hours and four minutes...they went from something that I used to view as entertainment, and they became something else. I had two questions when I came out of the theater: one, what does "directed by" mean, exactly, and two, who is Steven Spielberg?

And luckily, there was a book that had been published around the time that the movie came out called The Jaws Log, which was written by Carl Gottlieb, one of the co-screenwriters, and it turned out to be one of the best making-of books that anybody has ever produced, and I bought a copy of that and read it over and over again, and highlighted any mention of Steven Spielberg and what that job entailed, and from that pint on, I realized "oh, this is a job. I can have this as a job."

Yahoo! + Tumblr. = Smart

From Yahoo's official Tumblr.: the big tech news of yesterday.

We touched on this briefly in the latest Critical Path, and will attack it more in-depth soon. My gut reaction when this was rumored last week remains my thinking now.

This is a good move for both, providing Tumblr with much-needed infrastructure support, and Yahoo with an enormous amount of pageview impressions upon which to build a YouTube-like mountain of advertising business.