Rambling around Sofia.

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It’s always the same at a hostel. Why they insist on giving you a 20-minute monologue about the city I will never know. Pointless chat. Just hand me the keys to the room. Minging.

I don’t see a single person in the hostel building (for private rooms). I christen it the ‘Overlook Hotel’ and bash the bathroom door in with my e-cig. The hovel was dangerous, the Vertigo (1958) staircase a neck-breaking scenario waiting to happen. Thankfully I didn’t die, but I was terrified every time I went up or down the fucker.

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Like all post-communist countries, it’s backward. Street urchins are everywhere, Bugsy Malone (1976) rejects wandering the alleyways in search of shrapnel and fags. Bar staff are just awful. They scowl and grimace – pure hatred in their eyes. And they do this to all tavern visitors. Taxi drivers are scam artists. It’s the usual let’s-drive-around-in-circles nonsense. Scum.

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There were some highlights: I like the trams because they appear to be sent via DeLorean from the GDR in the ’70s. Also, the supermarket selection is eclectic. The Lidl was once again the crème de la crème. It was located slap-bang in the middle of a social realist nightmare of a housing estate, dirty-as-fuck matchbox apartments out of the age of Stalin.

The booze is cheap. The city is ugly. It’s cold. And that’s Sofia.

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Weston-super-Mare is a ghost town with tracksuits.

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You could be a trainee astronaut – if there is such a vocation – or have a Gary Kasparov-level IQ, but if you’re blessed with a thick West Country accent you just sound … profoundly thick to me. The dialect is essentially someone throwing up all over their vowels. Horror show.

Home of John Cleese, a.k.a. the lankiest goose-stepping mustachioed Python in history, Jeffrey Archer (cunt), and … Jill Dando, the highlight is the pier, scene of quite the transcendental moment in The Remains of the Day (1993) when Anthony Hopkins’ loyal butler realises his life was a waste of oxygen. He could have married Emma Thompson but nah, he instead opted to polish ornaments for James Fox. A truly tragic movie in the most understated way. The pier aside, the town is a shithole that makes Edinburgh look like Athens in the age of Aristotle.

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I am reminded of that Rust Cohl quote in True Detective when he rocks up to a hick village: “This place is like somebody’s memory of a town, and the memory is fading.”

But it was still better than Blackpool.

 

 

 

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The 1999 movie vault is something special and scary.

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1999 produced some truly cracking movies, dare I say two-in-one arthouse entertainments. They were from the sunny prism of the Clinton-era dot-com bubble, but laden with doom, premonitions of a darker age, and concerned with the very nature of reality itself –  its comforting distractions of material consumption and conformism. 9/11 changed everything; apathy was suddenly pummeled. The Y2K bug turned out to be fuck all and instead actual shit hit the fan. These movies – American Beauty, Fight Club, and The Matrix – capture that pre-9/11 unease with elan.

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They’re films of their era yet transcend the age because of the superior artistry on display. It’s not exactly fashionable today to laud the acting chops of Kevin Spacey, but he is superior in American Beauty, middle-aged melancholy defined as he squirms his way around suburban hell. The Matrix heralded a new dawn in special effects – bullet time and all that – yet was also one of the first pictures to probe with caution the digital landscape, 20 years before possessing a talking robot called Alexa was considered a normal pursuit.

In Fight Club, peculiarly a flop at the time (the pitfalls of bad marketing, they say) we find an Americana in the throes of an existential meltdown, angst-ridden males looking for something to fight for, a purpose or quest, amidst the dreariness of normalcy. Every generation needs a war.

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Though products of corporations, American Beauty, Fight Club, and The Matrix do not hesitate to bite the proverbial hand that feeds. There is a deep skepticism and paranoia running through them, that of the office as enslavement and deindividuation, the Michel Foucault Panopticon theme quite rampant. There’s also the sanguine at work here, that with mental and physical self-sacrifice and by disconnecting oneself from the cultural hegemony there is light, self-awareness, … happiness.

Further reading:

https://www.theguardian.com/technology/2015/jul/23/panopticon-digital-surveillance-jeremy-bentham

https://geekswipe.net/art/films/how-matrix-bullet-time-works/

https://www.theguardian.com/film/2000/jan/28/4

https://www.bustle.com/articles/178756-on-fight-clubs-20th-anniversary-author-chuck-palahniuk-talks-about-the-cult-classic-book

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Concorde Mark II – the Boom Overture.

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The Overture, the commercial airline of company Boom Supersonic, is on the cards. Edinburgh to Vancouver in four hours – the beasts flying at twice the speed of sound –  is just one of the many transocean routes being drafted.

The luxury vehicle – going nuts at 1,451 mph/Mach 2.2 and with the same fuel consumption as subsonic aircraft – will house a mere 55 seats, half the capacity of Concorde, but will be 30 times quieter. The XB-1, a half-scaled prototype, starts test flights this year. One imagines the fuckers with pitchforks in Nevada (where else?) will still be whingeing about the supersonic bantz outclassing cropdusters even when they can’t see or hear the former.

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Just look at that snap. It’s a wee bit missing from perfection, though. No one minds their own business on planes unless it’s a Gordon Gekko number; I’ve seen air stewards peek through artfully discreet holes in bog doors because the temporary inhabitant has taken more than three minutes to turd, wipe, and wash. My dream is this snap but with a metal curtain obscuring the view of me straddling a blow-up velociraptor (selfie craic) and regurgitating the Ross Geller voice.

Anyway, the 1973 FAA ban on supersonic air travel over the United States baffles many of us. Airlines, however, have ordered 30 of these Overtures and a review of outdated legislation is approaching. I’ll see you on one of these bad boys paid for with my swag from robbing the local Post Office.

Further reading:

https://www.independent.co.uk/travel/news-and-advice/son-of-concorde-supersonic-aircraft-plane-jet-speed-virgin-steve-jobs-widow-travel-subsonic-a8718911.html

https://www.geekwire.com/2019/boom-supersonic-closes-100m-funding-round-overture-faster-sound-jet/

https://reason.com/archives/2016/07/26/how-the-faa-killed-supersonic-flight

 

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2019 Resolutions.

No. 1: To stop going on Wikipedia and signing off at 4:00 a.m. having read the history of the screwdriver and the life of Margaret Thatcher.

That is all.

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James Bond is ruined.

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The Jason Bourne films coupled with a mighty dose of political correctness defeated the James Bond films. The rot began at the beginning of the noughties with the near-simultaneous release of The Bourne Identity (2002) and Die Another Day (2002). The former was an ascetic, bare-boned spy thriller sans gadgets and one-liners; the last Pierce Brosnan outing was a Roger Moore movie on steroids. And with an invisible car.

Die Another Day, a 40-year anniversary Bond replete with references to previous episodes in the franchise, riled the critics to no end; even today it’s deemed the ‘Worst Bond ever’ etc. The thing is, it’s not that bad. Bond has always been ludicrous, and that’s the appeal. Roger Moore knew this so played to the gallery. He’s impossible to kill and every shady fucker knows who he is the minute he checks into a hotel.

The custodians of Bond looked at this new gritty Bourne phenomenon and had a lightbulb moment. They did away with the special effects and made Bond a well-dressed Matt Damon – humourless, dour, and more boring than Matt Damon, who incidentally isn’t boring. The whole point of Bond is that he’s meant to be impervious to change, an anachronism spanning developments in the cultural landscape. These days he drinks Heineken, is the subject of psychoanalysis sessions at MI6, and proclaims he doesn’t give a damn if his voddy martini is shaken or stirred. And apparently Generation Snowflake think it would be more inviting if Bond were a woman.

I’d also like to add that Skyfall (2012) is an absolute howler of a movie. It’s as exciting as unblocking a toilet. To top this off the third act descends into a minimalist Home Alone (1990) set in the Scottish Highlands. Bond is fucked. Bring back the gadgets.

 

Further reading/viewing:

https://www.vice.com/en_us/article/43qp4d/daniel-craig-james-bond-boring

https://www.rollingstone.com/movies/movie-news/spectre-how-the-multiverse-era-killed-james-bond-65346/

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Trompe-l’œil in Reykjavík.

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This was the pinnacle of Iceland for me. No, not the Blue Lagoon or expedition around the Golden Circle, but a striking visage transplanted on the side of a derelict warehouse by the port of Reykjavík. I don’t know where it’s from but it has something of the Persona (1966) about it. The capital had a lot of this going on – graffiti artists spraying walls seemingly willy-nilly, and in broad daylight. Avant-garde ghetto.

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VHS was/is better.

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I was given a VHS player last month and a big batch of videos. I was always a DVD aficionado but realised something about 70 minutes into Indiana Jones and the Last Crusade (1989), this the movie in which Sean Connery plays Harrison Ford’s dad yet is a mere 12 years older than him in real life.

My thought was: I never skip scenes on a movie if it’s VHS because I can’t be fucked pressing the fast-forward button. It creates a whole new appreciative viewing experience, even if the film is pish.

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N.B. The Rock (1996) is a masterpiece. I’m convinced a Michael Bay clone made the picture.

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O2 outage – premonitions of Skynet.

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25 million customers losing the plot over an ‘outage’ due to “faulty software”. Shit came to a standstill because we can’t function without data.

It reminded me of an episode at Edinburgh’s Corn Exchange when their electronic ‘stuff’ stopped working so they had to add up drinks order prices with a calculator; it was too diabolically stressful for them and the masses were fuming.

The technology ends up, to paraphrase the movie Fight Club (1999), owning us. James Cameron was right and Skynet will be very real. Just wait until O2 becomes self-aware and hacks the nuclear codes.

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Further reading:

https://www.bbc.co.uk/news/business-46464730

https://www.theguardian.com/business/2018/dec/06/o2-customers-unable-to-get-online

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Turquoise anomaly.

IMG_20181130_102853162_HDRAbbeyhill/Meadowbank is a veritable toilet, by all accounts a shithole. George Best once drank here at the Artisan Bar when he played for Hibs. That’s the legacy of this ghetto. These days it’s a junkie paradise. However, this building is nuts, totally #peacocking. Scenes.

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