Il y a un terrain de golf non loin de chez moi qui s’appellle Connemara. Je suis incapable de le voir sans penser à Michel Sardou.

I read this when Wil first published it, but I thought of it again today with even more gratitude—for both Wil and Senator Fetterman. I’ve been wondering recently whether I should refrain from making particular commitments or pursuits because of my own struggles with mental health, and knowing that there’s someone with depression serving in the U.S. Senate is giving me hope.

Scrabble’s fundamental flaw is that it tries to make language more discrete and managed than it ever has been or ever will be.

I loved the first Black Panther and am kind of bummed to be disappointed by the sequel. Obviously, Chadwick Boseman’s tragic passing made this movie an uphill battle to begin with, and its wrestling with that loss within the movie is one of its strongest parts. There are also other individual parts of the movie that are really interesting on their own: international intrigue with strong Françafrique overtones! Riri Williams! turning a goofy 1940s comic book character concept into something compelling and decolonial! When all of these were mixed together—and forced to share space with Marvel connective tissue besides—it just felt like too much crammed into a movie. Things felt rushed, conflict felt forced, and even though this is probably the best possible MCU take on Namor, I still have so many questions about the character that sell that promise short.

There’s a lot to love about Top 10, which is why I read it for what is at least the third time (likely more). The story is well-crafted, the concept is interesting, it riffs on superhero tropes while breathing new life into them, and the art is full of so many easter eggs for the savvy reader (my favorite is probably the Astérix and Obélix cameo, but there are lots of other great ones). Because I remembered all that, I was surprised by how much of it fell flat this time through. The way that Moore codes orcish/kaiju monsters as Hispanophone and non-human robots as Black rubbed me the wrong way—it’s clear that it’s supposed to be a metaphor, but it seems clumsy and self-defeating. Likewise, Moore sometimes seems more interested in being edgy and leering with his ideas than in asking whether something is really necessary—or if it could come off as problematic. So, there’s a lot to love about this series, but it’s getting easier and easier for me to see its flaws, and I don’t know if I’ll need to come back to this again.

I’m not sure I enjoyed the second series as much as the first, but over time, it grew on me. The finale nicely tied things together and helped me see how Burnside’s hubris was a running theme of the series (rather than a character derailment). Interested to see what happens in the final series!

Venmo’s insistence that transactions be accompanied by notes makes me wonder what they’re doing with that data. For several months now, I’ve insisted on replacing any helpful indication with random characters.

Now seems like a particular good time to bring up my perennial pet peeve that people treat the terms “UFOs” and “aliens” as synonyms when the whole point of the former is to reserve judgment about the latter.

Still a fun series, and I’m glad it’s short enough that I could go ahead and finish it out. It continued to get more interesting as it went along, but it also didn’t give any of its twists and turns enough time to feel deserved.

I liked Volume Two more than Volume One: The story breaks free of simple troping and the characters become a bit more interesting. That said, none of this is enough in my mind to really set the series apart. I wonder if this would be better as a long-ish YA novel than as an ongoing comics series.

The premise is fun, and I liked (most of) the art, but I felt like the story moved too fast to move beyond recycled tropes—or let the characters be more than flattish archetypes. It probably won’t stop me from reading the next volume, but I think it’s aimed at a younger audience than me.

I’d seen some of the headlines Masnick is critiquing here, but I hadn’t read the articles. I appreciate this critique and overview.

I haven’t read this in over a decade, so I recently decided to listen to an audiobook version and see how I liked it this time through. The overall story is excellent! I found particularly compelling the question of scientific (and technological) responsibility, and the creature’s railing against his creator at Chamonix in the middle of the book struck me as almost Job-like. I wasn’t expecting the Chamonix scene to resonate with me as much as the tech allegory, but it will also stay with me, I think. Maybe it’s my modern reader’s eyes (or general familiarity with the book, but I found that this time, I didn’t have a lot of patience for some of the extended expressions of melancholy or the “travelogue” aspects of the book. I also found the nested epistolary structure to sometimes strain my suspension of disbelief. That said, those are ultimately minor complaints!

There’s a great John Finnemore sketch that involves a ridiculous number of nested stories, and I’m thinking of it as I approach the end of Frankenstein (a novel in the form of letters sent by a man recounting conversations with Frankenstein, who quotes other letters, etc.).

I’m sure this is overthinking things, but I have a LOT of linguistic questions about Frankenstein.

Swisstory wasn’t awful, but it’s pretty clear it’s written for kids: Lots of playing up the bloody and gross, and not as detailed as I would have liked. I own a French-language accessible history of Switzerland with illustrations by the late Swiss cartoonist Mix & Remix, and I wish I’d reread that instead.

I only learned about The Sandbaggers last weekend, on an episode of The Incomparable, but I watched the entire first series this week—and loved it. It isn’t perfect: There’s too much 1970s casual misogyny for it to be self-critical in the same way that a modern show set in the 70s would be, and the brown face in one episode is also embarassing. Not setting those aside, I was still impressed with the way the show combined the bumbling hypocrisy of Yes, Minister; the self-serving internal politics of Slow Horses; and the cynical despair of Le Carré into a single, compelling show.

The last time I read Frankenstein, I got a kick out of noticing all the Swiss connections. This time, I’m amusing myself by thinking of the title character as a hubristic tech bro.

Fascinating read. I can’t believe it’s been 20 years… I remember learning the news at a Boy Scout activity.

Petite preuve que la technologie n’existe pas hors culture : Quand un site web américain n’acceptera pas un numéro de téléphone comme « valide » si les chiffres sont séparés par des points, comme j’ai pris l’habitude de faire. Faut des tirets, comme un vrai Étatsunisien.

First Gloomhaven session of 2023 yesterday. Tough scenario, and we might have lost either way, but my Leeroy Jenkinsing with a squishy Spellweaver certainly didn’t help.

Il faut une version de la chanson « Sacré Charlemagne » qui se plaint des responsabilités de la vie adulte.

This is dumb and gross, and another reason I’ll never use Spotify.

Franchement, c’est parfait.

Reading an actual Apple terms of service document can only be so interesting, but at least creating a graphic novel version helps. The sheer audacity of the project is most of why I liked this comic, but it’s also quite fun to see Sikoryak’s homages to different comics, always with a Jobsian twist. It’s weird, and I don’t see myself rereading it, but I think it’s great.