THE SEARCH FOR THE YETI / SATUR-19 / YOU’RE GOING TO LIVE / HASN'T BEEN GROUNDED Editor/Publisher @TheServantZine
Baltimore, MD
Joined March 2025
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NARC Film retweeted
Preferred the 1987 "Bonfire of the Vanities" (novel, not the movie).
NARC Film retweeted
It really is such a beautiful thing that we’ve had 22 years of being reminded that the Yankees are the only baseball team to ever blow a 3-0 series lead. Mentioned on endless broadcasts by now. Still hits every time.
NARC Film retweeted
The New York Times, 24 years ago:
"A blunt new report by Arab intellectuals commissioned by the United Nations warns that Arab societies are being crippled by a lack of political freedom, the repression of women and an isolation from the world of ideas that stifles creativity.”
"The report notes that while oil income has transformed the landscapes of some Arab countries, the region remains 'richer than it is developed.' Per capita income growth has shrunk in the last 20 years to a level just above that of sub-Saharan Africa. Productivity is declining. Research and development are weak or nonexistent. Science and technology are dormant."
"Intellectuals flee a stultifying -- if not repressive -- political and social environment, it says.”
The study also reported that the Arab world translated only 330 books into Arabic annually — one-fifth the number of books translated in Greek. "In the 1,000 years since the reign of the Caliph Mamoun, it concludes, the Arabs have translated as many books as Spain translates in just one year.”
👉 nytimes.com/2002/07/02/world…
NEW: RFK Jr. falsely claimed that Arabs did not win global awards for science and “don’t produce literature" while stumping for Mike Rogers in Michigan.
Comes as Trump and his allies step up anti-Muslim messaging in closing pitch--
nytimes.com/2026/10/27/us/rf…
NARC Film retweeted
Via Nicky Otis Smith (@NARCFILM): Perhaps it shouldn’t be surprising that a 55-year-old movie (Ken Russell's THE DEVILS) isn’t only able to inspire furious feminist screeds but also to bore and confound increasingly addled and impatient audiences. splicetoday.com/moving-pictu…
NARC Film retweeted
I’ve been to a Cheesecake Factory once and didn’t care for it. Also, like 99 percent of Americans, I don’t care what the White House looks like.
NARC Film retweeted
Steely Dan: "Any Major Dude Will Tell You." youtu.be/HBzzdlpISFg?si=swrV… via @YouTube
NARC Film retweeted
I’m not crazy about literary publishers having an ideological bent, but the notion that right-wing novelists & poets are automatically illegitimate is absurd—unless you think T.S. Eliot, Céline, Borges, Wallace Stevens, Nabokov, Bellow, Cormac, et al. are illegitimate.
NARC Film retweeted
Some people I've talked to wonder why Elizabeth Holmes wanted to be filmed in the days leading up to her incarceration. It's very clear to me what her goals were for the documentary: it's a calculated PR bet for Elizabeth to launder her reputation.
I understand why Nathan Fielder doesn't relitigate her case in the documentary. That story has been told. The case is literally closed. Elizabeth is serving jail time for defrauding investors. Her guilt is incontrovertible and not up for discussion.
However, the documentary introduces (and reintroduces) Elizabeth's story to audiences who are either unfamiliar with her lore or who don't have the details of the case top-of-mind.
Elizabeth knows that it's highly unlikely her conviction will be overturned. But she can change her perception in the court of public opinion. In the doc, Elizabeth achieves her goal of recasting her public image from the cold, calculating CEO to a tradwife-adjacent new mom who seems too socially unaware/oblivious/confused to have committed the crimes for which she is serving time. With her wide-eyed stare, rosy cheeks, and beatific smile, she even looks cherubic. AND she's running her old playbook of deploying her romantic partner in the role of unlikeable male enforcer (previously her ex-boyfriend/Theranos COO Sunny, now her husband Billy) as a reputational shield, garnering sympathy for herself.
Because Elizabeth is difficult to read, she keeps her positioning options open. She could position herself as a poster-child for the new right's idea of womanhood: soft, feminine, devoted to her babies, and aligned with Trump, MAHA, and Charlie Kirk. Or she could fall back on her old 2010's-coded mission-driven girlboss CEO persona who just wants to save the world. Having Billy operate her Twitter account sets him up to be a potential fall guy and gives her plausible deniability about the views expressed online in her name.
Don't let her soft beige sweaters and feigned perpetual confusion fool you. Elizabeth has always been extremely strategic around her public image, and this documentary is no exception.
"idk what she did but everytime i see a pic of her i feel sorry for her"
Mission accomplished @ElizabethHolmes
NARC Film retweeted
It's a testament to their colossal failure. Holmes went into this film as a symbol of the worst trends of our modern era of fraud, and exits as an ambiguous potential victim. She got what she wanted from Fielder.
I suppose it’s a testament to Fielder and Oppenheim that every review of You Can See Everything claims to see a different lesson or moral in the movie…
It’s about the post-truth era, or it’s maybe even about Trump or Musk, it’s about the limits of the documentary, it’s about the nature of lying, its about the psychology of psychopathy, it’s about Silicon Valley’s hype economy, it’s about … autism.
I don’t think it was principally about any of those things!
NARC Film retweeted
there’s no way around people being annoying on the internet, but also they’re not as much to blame as the way that marketing is more and more actively being built around and to encourage people being annoying on the internet — it’s something pushed from the top down to make money
new column, on becoming completely uninterested in the moviegoing zeitgeist splicetoday.com/moving-pictu…
