Reflecting for the Week (3)

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I pause from blogging this week, in order to reflect more on my other work: Theory of Algorithms and The Core Algorithm.

What do you need to reflect on, and how often should you do so?

Reflecting for the Week (2)

(image credit)

I pause from blogging this week, in order to reflect more on my other work: Theory of Algorithms and The Core Algorithm.

What do you need to reflect on, and how often should you do so?

Reflecting for the Week (1)

(image credit)

I pause from blogging this week, in order to reflect more on my other work: Theory of Algorithms and The Core Algorithm.

What do you need to reflect on, and how often should you do so?

`Philosophy for Gangsters, Manifesto of Free Will

Courtney Romano, as Callie, in `Philosophy for Gangsters

In “Philosophy for Gangsters,” a fitfully amusing dark comedy, Callie Rizzoli, a college-educated Mafia princess being groomed to lead the family business, is particularly aggrieved by the way her parents and brothers have departed — in a firefight with the police, shrugging that they were always meant to die that way. 

What killed her people, Callie (Courtney Romano) insists, was their determinism: the belief that nothing occurs at random, that every decision and action is the inevitable outcome of previous events. Never mind the mob; those damn philosophers are the true menace to society. 

She and her crew are offended that no one suffers the consequences for promoting such dangerous ideas; in the rough code of their work, they grouse, accepting responsibility is essential, even if occasionally lethal. So they kidnap Wilfred May (Tom White), a young philosophy professor at a nearby college, to make an example of him. After resisting — and losing a finger in the process — Wilfred does a Patty Hearst and joins them as they try to manipulate the media and redefine their crimes as a manifesto of free will.

Reference: Mob Princess Wages War on Concept of Inevitable.

In Dubai we are wont to say insha'allah, that is, God willing, whenever there is something we very much want to see happen.  It's not strictly determinism in the way that Western philosophers may define it, but Islam does not put fate in the hands of humankind per se.  Rather, God determines everything.  

I suppose, on the contrary, that Western ideals and Christian beliefs revolve around self-determinism, what Callie and cohort may refer to as free will.  To take this to the realm of physics, I might argue that `Philosophy for Gangsters pits Albert Einstein's notion that God does not play with dice (i.e., nothing is random) against Werner Heisenberg's principle of uncertainty (i.e., there are limits to what we can know).  

In the latter can that criminal manifesto of free will thrive. 

The Beautiful Alexandra Silber on Life and Stage

Alexandra Silber

What was it like doing a little theatrical piece like “Arlington” after playing opposite Tyne Daly on Broadway in “Master Class”? 

There was a purity about the experience. You’re in this little 100-seat theater. You’re cashing a very humble paycheck. But one night, I was walking home, and I had this ton-of-bricks moment: “I’ve never been happier in my life. This is success.” It’s not about what you do; it’s about how you feel about what you do.

And what is your life like now as a single woman in New York? 

I feel very zen about it. I live in Queens — Astoria — in the cutest, cutest apartment that I call the Winter Palace because my name’s Alexandra, and I love Russian things. I’m waiting to get a black cat named Rasputin.

Reference: After Marquee Roles, an Epiphany: Alexandra Silber Sings Wartime Blues in ‘Arlington.’

Alexandra Silber is a very beautiful lady, and I love her spirit, humor and authenticity.

Dramatic Reality of Financially Strapped Theaters

Alan Cumming, in `Cabaret

“Cabaret,” a revival that was a huge moneymaker for Roundabout from 1998 to 2004, is coming back to Broadway with the same lead actor (Alan Cumming), the same creative team, even the same peek-a-boo poster and marketing campaign. 

But there is one key difference: the ticket prices. In hopes of erasing a deficit, Roundabout, the city’s biggest nonprofit theater, has increased the top price to $162, its highest ever. During the show’s earlier run, tickets started at $75 — or $107 today, adjusted for inflation.

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At Roundabout, higher ticket prices have met with mixed reactions from audience members.

“I used to pay $8 to see shows here,” said Marlene Cohen, 76, a Roundabout subscriber for 20 years, before a recent performance of the theater’s “Machinal.” “But I feel I get a good value.” 

Her theater companion, Margie Weinfeld, though, said that she planned to skip the revival of the revival of “Cabaret.” 

“Prices are too high,” said Ms. Weinfeld, 65. “I’ll just rent the movie version again.”

Reference: It May Be a Nonprofit Theater, but the Tickets Look For-Profit.

As a management consultant, I know there is simply no easy solution to the kind of financial squeeze these New York City theaters face.  Raising ticket prices are fine, if their target audience will, by and large, bear them.  There are theater-goers who are price elastic enough, like Cohen, and those who are simply not, like Weinfield.  If theaters have access to analytic tools, then they can determine the optimal price for their audience, that is, tapping as much of their price elasticity as possible, while minimizing audience fallout, in order to serve their financial objectives.

But aside from options for funding or revenue, these theaters may need to rethink their plans and dial down their aspirations.  In other words, they ought to draw on their creativity to work within tighter constraints and thereby solve their dilemma.  American culture is often about setting the bar high and going for it, so scaling things down and deploying more modest aims can be very difficult.

They will be, only what they can be.  

`Evermore, by Biz Stone

“Evermore” is the story of a single mother who buries herself in work and a grandfather who hides in his own little world. The imaginative machinations of an eight-year-old girl may mean salvation for this family darkened by loss. An invitation to a school play sheds light on the importance of family.

Twitter co-founder Biz Stone does Edgar Allan Poe's `The Raven, in order to deal with loss.  The poem is a stirringly frightening one, but in the context of this short film, it's an anchor for the story line, made endearingly so by that eight-year old girl's recitations.  If there is any fright to it, though, it is muted, even submerged.

`Filter, by Ronnie Allman

The hardest part of life is living. Filter is a story about a couple who struggles to survive in a world that has changed them forever. Ronnie [Allman] hails from the Lone Star State and 'Filter' is his first short film. He currently works in the creative industry in San Francisco and is always looking for new ways to bring his ideas to life.

Something is toxic in the air and in the water, and it's a madcap yet mournful world out there.  The gas masks make for an alien monstrosity, yet not so, because we know these are just common people wearing them.  Maybe this couple lost their eight-year old daughter, Emily, and now in their bereavement, everything and everyone look alien, including each other.

`Out of the Blue, by Eva Longoria

“Out of the Blue” is about a determined woman fighting her way through a series of unique physical challenges to stop a mad man. Her skills are put to the test when discovering a loved one in danger. The female character’s mission takes a surprising turn that leaves us wondering if it was all just a game.

Eva Longoria does the kickass Trinity - Carrie Anne Moss' character from `The Matrixe.  The story isn't exactly imaginative, but her acting and the cinematography are solid.  Besides who'd want to miss seeing her in a skin-tight, sci-fi fighting suit?

Heath Ledger Tour de Force Performance

Heath Ledger

Heath Ledger's family accepting the Best Supporting Actor Oscar® for his performance as the Joker in "The Dark Knight". Presented by former Oscar winners Christopher Walken, Alan Arkin, Kevin Kline, Cuba Gooding, Jr.and Joel Grey. 81st Annual Academy Awards®.

Reference: Heath Ledger winning Best Supporting Actor for "The Dark Knight."

Ledger - menacing, mercurial, droll and diabolical - wins the Oscar for Best Supporting Actor posthumously.  But his character and tour de force performance stole `The Dark Knight.  He was no supporting actor, he.  He was the actor in the film.

Eva Green Smolders in `Casino Royale

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I haven't seen `Casino Royale, yet.  But I think these photos of the smoldering Eva Green will suffice.

Hollywood Sexiness in `Captain America

The upcoming next installment of Marvel's national hero was clearly favorite among member of the Movies community on Google+.  Bring two sexy stars from Hollywood - Chris Evans and Scarlett Johansson - and their serviceable acting talent is more than enough to draw attention.