Titan
Titan was discovered in 1655 by Dutchman Christiaan Huygens. It orbits Saturn. Huygens named it Luna Saturni. When more moons were discovered, it was re-named Saturn II, then IV, then VI, which stuck as the official title, even though there are at least 19 moons in closer orbit of Saturn. It's also been referred to as "Saturn's ordinary satellite," but Titan is anything but ordinary.

   



Titan is the only body in the solar system, aside from Earth, with stable liquid bodies at its surface* and a dense atmosphere. Its landscape is relatively smooth, although there are mountains. As on Earth, the air is primarily composed of Nitrogen. Methane and Ethane clouds produce rain, wind and weather that give it seasons. It also has subsurface oceans*.



 

Korea's recent global rise in profile is sometimes referred to as "The Korean Wave" or Hallyu. Back in the early 1990s, Korean Drama underwent an explosive growth in popularity around East and Southeast Asia as well as in cities like Los Angeles, with large immigrant populations from these regions. Soon, Korean movies (beginning with Shiri) gained an audience among American critics who'd previously (with close-minded, snobbish prejudice) limited their viewings of Asian films to critically-canonized Japanese and/or (1980s) Chinese productions. And Hollywood has taken notice too, remaking numerous K-Horror films, the romcom My Sassy Girl, and the magic-mailbox drama The Lake House.


I'm told Korean music grew in popularity too. I guess I know a couple of non-Koreans who listen to K-Pop. Whilst flipping through the unparalleled multiculturalism of Los Angeles' AM radio band, I've occasionally stumbled across Radio Seoul (AM 1650) and Radio Korea (AM 1230). Just judging from the cadence and character of AM radio in general, I'd guess that the majority is Christian in nature, but they do occasionally play Korean pop music. Last year at the Hollywood Bowl, K-Pop was showcased in a program featuring BoA, Epik High, Fly to the Sky, Ivy and Super Junior.

I was watching the Argentina vs Nigeria game the other night and started fiending for some N.O. Bounce. Before long I was searching for some Hot Boy Ronald and I stumbled on this fan video that made me lose it.

But let me back up a little bit first. Hot Boy Ronald is a 9th Ward Bounce artist who's collaborated with Choppa, Juvenile and others. Some of his certified bangers have included "Shake it like a oink" and "Walk like Ronald." The latter is on Bounce Back (2005 - King's Ent.). Looks like he's got a new record called Bottom of the Map. I tried to do a little background on him but Wikipedia's got nothing. Allmusic's got nothing. His own myspace doesn't have a bio (although it's got more bells and whistles than the closing ceremony of the Beijing Olympics). At that point it becomes a cold case.

As with any Bounce hit, popularity isn't measured in terms of CD sales, but how many youtube videos people post of themselves dancing to your song.

First up you've got Ashley in San Antonio sort of lethargically doing the "Walk like Ronald" with some enormous slippers on.



And then you've got Christina and friends. Um... still a little rough.



Mark, Nick and Stacy are a bit better. But the image quality will screw with your eyes.

Background

Paul Anderson is a prolific Generation X filmmaker with a trademark style and five Academy Awards under his belt. He's also made music videos for everyone who's performed at Largo. In addition to his film-making, he's dated models turned singers, singers turned models, daughters of singers and models who only sing in the shower.

Style

Paul Anderson's films are notable for their flashy style and complicated, interweaving story lines. As one of the video store generation of filmmakers, he employs a large bag of cinematic tricks, including quick cuts, constant camera movement, stunning scenery, dutch tilts, low angles, high angles and revolving pullback shots-- tricks gleaned from growing up with a VCR rather than film school learning. He frequently employs female-led ensemble casts drawn from a stock of trusted actors. Making up that group are such players as Julianne Moore, Sean Pertwee, John C. Reilly, Colin Salmon, Phillip Seymour Hoffman, Jeremy Bolt, Melora Walters, Jason Isaacs, and Luiz Guzman, to name a few.

Themes

Anderson's ostentatious style is frequently used to elevate the seemingly mundane to epic proportions. Sometimes the point of this ostentatious streak seems merely like showing-off, perhaps an effect of Anderson's high level of film exposure but probable lack of theory. He frequently revels in the seedy underside of outwardly blissful environs. Other frequently recurring themes include constructions and examinations of makeshift families, the role of media, divine acts, secret governmental organizations and the unintended consequences of technology run amok.

Films

The Strangers begins with a caveat, "The horrifying events that took place in the Hoyt family's vacation home at 1801 Clark Road on February 11, 2005, are still not entirely known." We are also told that the film is "inspired by actual events." Those inspirational events most likely included watching Helter Skelter and maybe Fatal Vision. But the "based on actual events" gimmick is a tried and true one; and one indicative of The Stranger's formula-following strengths and weaknesses.



One guy went to the trouble of mapping the address given in the film and many others have taken the opening claim as truth. I'll try to help by adding that I heard the cry of a Great Horned Owl at several points and I've included this handy map of their range so that we can narrow it down further.

      

In interviews, speaking of his influences and tastes, first time director Bryan Bertino praises The Blair Witch Project ("I'm one of the people who loved The Blair Witch Project. I don't care that the camera is shaky and Heather says f**k a lot"), The Texas Chainsaw Massacre and The Descent. He also mentions John Cassavetes and Terence Malick, whose work is reflected in the main characters' strained relationship and the film's measured pacing. By and large Bertino succeeds in creating a low budget '70s vibe. The summer home (a ranch home, naturally) is furnished in heavy, brown furniture and lit by 15 watt bulbs (apparently the owners are either photosensitive or very energy conscious). Crackly records of Gillian Welch, Joanna Newsom and Merle Haggard play. It almost feels like a Pinter play or a Bob Rafelson drama.

The film story begins (like last year's not-entirely-dissimilar Vacancy) with a couple traveling in a car-- their feelings for each other obviously strained but not entirely explained. As the preceding events become more clear, the tension slowly and expertly builds on the viewer's anticipation of something awful. Nothing happens and yet we know something will. Nothing new here, but it's well done and sticks to the thriller formula closely so it works.

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