The Future in Films

The movie industry’s projections of the future are not always accurate. Space travel in 2001 wasn’t up to the standards of 2001: A Space Odyssey, and the Los Angeles of 2019 wasn’t quite as grim as foreseen by Blade Runner.

Let’s hope that film makers were equally inaccurate in their projections of life in 2020 (Annihilation Earth), 2022 (Soylent Green), and 2026 (Metropolis).

If It Looks Like a Duck …

There’s a post over at Cat Rotator’s Quarterly about finding a rubber duckie modeled on Charlemagne for sale at an Autohof. (H/T, Sarah Hoyt)

A rubber duckie version of Karl der Große from a painting by Dürer. And I recognized it at first glance, which probably means I have spent far too much time in the very early Middle Ages this past year or so.

I may have spent too much time contemplating England of the Middle Ages because when I read the post, my first reaction was, “Well, if it weighs the same as a duck, …”

Quote of the Day

Humiliation and indifference, these are conditions every one of us finds unbearable–this is why the Coyote when falling is more concerned with the audience’s opinion of him than he is with the inevitable result of too much gravity.

—Chuck Jones

No, Our Accounting Has Just Become More Selective

The actors and director who created This Is Spinal Tap are suing the film’s distributor for back royalties they claim are due to them.

The complaint alleges that between 1989 and 2006, Vivendi reported that the total income from soundtrack music sales was just $98.

It also claims that Vivendi reported that the four creators’ share of total worldwide merchandising income between 1984 and 2006 was $81, despite music and merchandise linked to the film racking up “tens of millions of dollars” in revenue.

None of the band’s drummers were available for comment.