Search Results for: New York Magazine

The next phase of George Lucas’s career, the making (and studios’ rejection) of his new Tuskegee Airmen film Red Tails, and who’s really to blame for the “nuking the fridge” idea in the last Indiana Jones film:

When I told Lucas that Spielberg had accepted the blame for nuking the fridge, he looked stunned. ‘It’s not true,’ he said. ‘He’s trying to protect me.’

In fact, it was Spielberg who ‘didn’t believe’ the scene. In response to Spielberg’s fears, Lucas put together a whole nuking-the-fridge dossier. It was about six inches thick, he indicated with his hands. Lucas said that if the refrigerator were lead-lined, and if Indy didn’t break his neck when the fridge crashed to earth, and if he were able to get the door open, he could, in fact, survive. ‘The odds of surviving that refrigerator — from a lot of scientists — are about 50-50,’ Lucas said.

“George Lucas Is Ready to Roll the Credits.” — Brian Curtis, The New York Times Magazine

Related: “Interview: Steven Spielberg on Jaws.” — Ain’t It Cool News, June 7, 2011

On the encouraging signs of change in Burma—from the end of press censorship to the release of some political prisoners. A report from inside, and questions about why the government is doing it:

Ever since the country’s longtime dictator, Than Shwe, stepped aside early last year, a remarkable thaw has appeared to be underway in Burma—and journalists have been among the prime beneficiaries. In June 2011, the government announced that magazines focusing on sports, technology, entertainment, health, and children’s topics no longer had to be submitted for censorship. Later, publications covering business, economics, law, or crime were also exempted. In October, U Tint Swe, head of the Press Scrutiny and Registration Department, made a mind-boggling statement during a rare interview with Radio Free Asia (RFA). ‘Press censorship,’ he said, ‘is nonexistent in most other countries as well as among our neighbors, and, as it is not in harmony with democratic practices, press censorship should be abolished in the near future.’ For the head of the censorship board to say this at all was astonishing, but for him to say it to a news organization like RFA, which is funded by the U.S. government and has been banned in Burma, was unthinkable. (Until recently, state media spouted melodramatic slogans about RFA and other external radio services running Burmese-language programs, calling them ‘killers in the airwaves’ and accusing them of producing a ‘skyful of lies.’)

“Drifting House.” — Emma Larkin, The New Republic

See also: “On Libya’s Revolutionary Road.” — Robert F. Worth, New York Times, March 30, 2011

Judith Clark was a new mom when she was arrested, along with three other militants, for armed robbery and murder in 1981. She remains in prison—and her daughter Harriet has no memory of her mother any other way:

The prison’s visiting center was her second living room. ‘When they got a new vending machine, it felt like new furniture in my house,’ Harriet said. The other children she met visiting their inmate moms fell into two groups: those who lost them to prison ‘within memory or before memory.’ She was puzzled when some were anguished that their mothers weren’t home for holidays and family events. Harriet had never had that experience to miss. ‘My mother lived in prison,’ she explained. ‘That was always the reality going backward and going forward.’

Harriet and her mother spent hours making creations with pipe cleaners and popsicle sticks. ‘I have no memories of not having my mother’s undivided attention,’ she said.

“A Young, Cold Heart.” — Tom Robbins, New York Times Magazine

More Robbins: “Tall Tales of a Mafia Mistress.” — Village Voice, Oct. 23, 2007

Before Wonder Woman there was Miss Fury, the first female superhero, introduced in 1941:

Miss Fury was created, written, and drawn by a woman, June Tarpé Mills, who published under the more sexually ambiguous Tarpé Mills. Had Miss Fury entered an enduring canon like DC’s, it’s possible that the template for female superheroes, as well as for superhero comic readership, would have depended more on the influence and perspective of actual women.

“Heroine Chic.” — Evie Nagy, Los Angeles Review of Books

See also: “Lynda Barry Will Make You Believe in Yourself.” — Dan Kois, New York Times Magazine, Oct. 27, 2011

On modern manufacturing in the U.S. and the unskilled-skilled labor gap—with 92-year-old Standard Motor Products serving as a case study: 

Across America, many factory floors look radically different than they did 20 years ago: far fewer people, far more high-tech machines, and entirely different demands on the workers who remain. The still-unfolding story of manufacturing’s transformation is, in many respects, that of our economic age. It’s a story with much good news for the nation as a whole. But it’s also one that is decidedly less inclusive than the story of the 20th century, with a less certain role for people like Maddie Parlier, who struggle or are unlucky early in life.

“Making It in America.” — Adam Davidson, The Atlantic

See also: “The White House Looks for Work.” — Peter Baker, New York Times, Jan. 19, 2011

A man, brought to the U.S. as a toddler, is suddenly deported to Mexico. He’s now trying to get back:

The train had covered 10 miles through the high desert when it stopped at a U.S. Customs and Border Protection checkpoint. An inspector and his canine walked by on the gravel path. Luna stifled his breath and prayed. Then he felt a sharp tug and a dog’s hot breath.

A German shepherd sank its teeth through Luna’s two shirts, locked onto his ribs and dragged him out from under the train. He clutched his side.

“Without a Country: Immigrant Tries to Get Back to the Life He Knew.” — Richard Marosi, Los Angeles Times

See also: “My Life as an Undocumented Immigrant.” — Jose Antonio Vargas, New York Times, June 22, 2011

Google and YouTube exec Robert Kyncl’s plans for the future of web TV—and the company’s big bet on professional content: 

“Kyncl’s relationships in Hollywood would help in securing premium content; and, more important, he understood entertainment culture. He brought ‘the skill set of being able to bridge Silicon Valley and Hollywood—an information culture and an entertainment culture,’ he told me. The crucial difference is that one culture is founded on abundance and the other on scarcity. He added, ‘Silicon Valley builds its bridges on abundance. Abundant bits of information floating out there, writing great programs to process it, then giving people a lot of useful tools to use it. Entertainment works by withholding content with the purpose of increasing its value. And, when you think about it, those two are just vastly different approaches, but they can be bridged.’”

“Streaming Dreams” — John Seabrook, The New Yorker

See also: “The YouTube Laugh Factory: A Studio System for Viral Video.” — Wired, Jan. 2012

Top 5 #Longreads of the Week: Featuring Nancy Rommelmann, The New York Times Magazine, The Nation Magazine, Carl Zimmer, The New Yorker, plus a guest pick by Deadspin writer Drew Magary.

In 1990, a trash bag with human remains was found in the Vinegar Hill neighborhood of Brooklyn. The investigation soon expanded to killings in Albania and Belgium, and focused on the activity of a Yugoslavian former cab driver named Smajo Dzurlic:

“Smajo Dzurlic, who is now 71, shuffled into the room, his wrists and ankles unbound. He wore a brown argyle V-neck sweater, and his head barely came up to the guard’s chest. ‘Do I look dangerous to you?’ he asked, as we sat beside each other at the end of a long, rectangular table. ‘They figured I was some big man, like Son of Sam or something,’ Dzurlic said in rusty English. ‘But they gave me time for no reason. I’m not a murderer. Not a murderer whatsoever.’”

“On the Trail of an Intercontinental Killer.” — Nicholas Schmidle, New York Times Magazine

See more crime #longreads

The making of a comedian and his super PAC: 

In August, during the run-up to the Ames straw poll, some Iowans were baffled to turn on their TVs and see a commercial that featured shots of ruddy-cheeked farm families, an astronaut on the moon and an ear of hot buttered corn. It urged viewers to cast write-in votes for Rick Perry by spelling his name with an ‘a’ — ‘for America.’ A voice-over at the end announced that the commercial had been paid for by an organization called Americans for a Better Tomorrow, Tomorrow, which is the name of Colbert’s super PAC, an entity that, like any other super PAC, is entitled to raise and spend unlimited amounts of soft money in support of candidates as long as it doesn’t ‘coordinate’ with them, whatever that means. Of such super-PAC efforts, Colbert said, ‘This is 100 percent legal and at least 10 percent ethical.’

“How Many Stephen Colberts Are There?” — Charles McGrath, New York Times Magazine

See also: “The American Press on Suicide Watch.” New York Times, May 9, 2009