How to Fix a Broken Embedded Flickr Album

I recently had need to embed a Flickr album, as I’ve done many times before. When I published the article, however, the album was broken and only showed a single image. Odd, sure, but I figured I had just copied the wrong embed code; an hour later and I was fairly certain I hadn’t.

The Problem

What I wanted was a gallery that showed all the photos in the Flickr album in order, with left and right arrow-buttons for navigation. Something like this:

Kew Gardens & Science Museum

Looks great, simple to use and what I’ve always had when using the Flickr embed codes in the past. The problem, though, was that instead of a nice gallery I just had this:

Kew Gardens & Science Museum

Looks similar, but it’s just a static image linked to the album page on my Flickr profile; there’s no way to scroll or navigate through the photos. Weird right! A few hours Googling around the subject later and the bad news is that the issue is frequently encountered, but not consistent, so doesn’t appear to be considered as a bug. The good news, though, is that you can manually force an embed code to behave in the ‘correct’ way, you just need to know how.

How to Fix It

Full thanks should be directed at Flickr user studyabroadwmu who posted the missing piece to the puzzle in a Flickr support thread last year.

The trick is noticing the seemingly innocuous difference in the anchor tag of the embed code generated for the two albums above:

<a title="Kew Gardens & Science Museum" href="https://www.flickr.com/photos/161720506@N06/albums/72157669217526758" data-flickr-embed="true" data-footer="true">

As opposed to:

<a title="Kew Gardens & Science Museum" href="https://www.flickr.com/gp/161720506@N06/y5R7Wu" data-flickr-embed="true" data-footer="true">

Why the bottom embed code was generated using some kind of URL shortening is not clear, but that’s the root of the issue. Want to fix it, just open the album in Flickr and take a look at the URL in the browser bar, which in this case would be:

https://www.flickr.com/photos/161720506@N06/sets/72157669217526758/

Now copy that and paste it over the value of the href attribute and, hey presto, you should have a working embedded gallery once again!

Autumn Colours at Kew Gardens

Kew Gardens & Science Museum

What’s this, a new article? Containing a new Flickr album? Well, who would have thought!

So yes, I’m back, hopefully with some more frequent updates (at long last) and definitely with quite a bit more photography related posts. Life has gone through some fairly big changes since my last post back in February, big enough to warrant their own post at some point. The brief version is that I’m now unemployed and living in London; exciting times!

That has meant time to finally sit down and begin working through the backlog of photographs. It has also meant a fiber internet connection! I’d hoped to have started publishing albums again as soon as we were connected, and pretty much had the above ready to go, but then I hit a bump in the road. Flickr has decided that my log-in details are no longer correct and Yahoo has deleted my associated email account. It doesn’t seem to matter that I still have access to the backup email account, the linked mobile phone or that I could provide private information on the account, after a protracted fight with Yahoo customer support I was left with two options: delete the original account or ignore it. The former sounded appealing, but a quirk of the Flickr back-end means that deleting the account doesn’t free up the username or URL, the two elements I most want…

So, whilst theAdhocracy on Flickr will live on, it will have to do so on a new profile, with a new name: theAdhocracyUK. I still hold out some hope that the recent acquisition of Flickr by SmugMug may allow greater flexibility in the future, but until then I invite you to follow the new me. As with my last outing on the platform, any images predominantly features friends/family (you know, memory shots rather than composed “photographs”) will only be visible if you’re following me and have been approved.

I’ve re-uploaded the original three albums, even taking the opportunity to add better captions and tweak a few of the exposures along the way. With that all (finally) complete, I’m back to where I thought I was two months ago and can begin sharing some new photos. So, with that said, up top I’ve uploaded a few shots from our trip to London last October.

We came across to London primarily to visit Kew Gardens with Alison’s parents, which was my first time to the area. To say we enjoyed it would be an understatement; in fact, we recently became members! Despite being mid-autumn, the beds were in full flower and offset beautifully against the turning leaves, plus the Hive sculpture (well pictured above) was fascinating. It was a great day out and a very fun visit.

The rest of the photos were taken at the Science Museum in South Kensington, predominantly in an exhibit they were running at the time on Asia/India. It was both wonderfully put together and extremely informative, plus the general design of the museum really impressed me. Overall then, a very successful weekend and I’m glad to finally be able to share it; expect more to come to Flickr soon (plus 500px and Instagram).

Solving Ancient Riddles with Neural Networks

A page of the Voynich manuscript showing a number of plant like drawings and several paragraphs in an unknown language or encrypted text
Could the Voynich Manuscript just be early world building? Image in public domain.

I, like just about everyone who has ever heard of it, have been fascinated by the Voynich manuscript for years. The idea of an eldritch textbook, written in an encrypted script and with baffling, other worldly diagrams and drawings is ripe for all manner of conspiracy and conjecture. That it is over half a century old and has managed to survive relatively intact just fuels those fires.

Personally, though, I don’t subscribe to any of the extra-terrestrial, spiritual or religious interpretations for the book. Honestly, whilst any of those would be ground breaking and revolutionary to our understanding of the universe, they also dismiss something far more interesting. The Voynich manuscripts could be some of the earliest genre fiction on the planet! That idea is genuinely more exciting to me; to find definitive proof that people 600 years ago were just as happy inventing fictional worlds, in entirety, as I am today.

Of course, ancient fiction is well documented. We have plenty of examples  from much earlier in our history, but the Voynich manuscripts are somehow more interesting then the likes of Lucian of Samosata’s True History, at least in one particular aspect. They don’t tell the tale of some great mythology or legend, at least not one which is still known, and they appear to have been created by a single author, given how consistent the writing and art style is throughout the 200+ pages. To me, that would make this veritable tome less “just a story” and more a body of work akin to Tolkien’s Middle-Earth; early proof of actual world-building, for no reason other than fun. That we may have found a 12th Century Tolkien or Martin* is far more exciting to me, personally, then any of the more grandiose theories.

With that said, it may not be that long before the Voynich manuscript finally gives up some secrets. In one of the more interesting applications of neural-network AI I’ve seen, fellows at the University of Alberta have recently been targeting the text of the manuscript. The big issue with decoding the text isn’t just the encryption; with computers we should be able to make some headway on that front. However, you can only crack an encryption system if you have some idea of what the unencrypted message will look like. For that, we need to at least know the language which was initially encrypted. Of course, if the manuscript truly was created by a 12th Century Tolkien then it may have been written in a fictional tongue, making the whole exercise fruitless. Still, this is the very mystery that Greg Kondrak, with aforementioned AI in tow, may have managed to crack.

Having trained the AI on finding lingual patterns within text (not actually deriving meaning, but recognising the mathematical models that make up a language’s semantics and syntax) it was fed the Voynich manuscript. The result: Hebrew, with a high degree of certainty, appears to be the underlying language. That’s completely amazing to me. That a computer can teach itself enough about human linguistics that it can derive the language of a block of text based on glyph placement and frequency is astonishing, but that it can then use that same logic to decode gibberish into the underlying root language is mind blowing.

Of course, the result does come with some major caveats, the first being that this is still a best guess. The AI has found a pattern, that is certain; a pattern which closely matches archaic Hebrew. But until we can decode the text and find that it makes sense in Hebrew it doesn’t get us much closer. Here, Kondrak has also made some headway, believing that the text might be using a simple alphagram system. An alphagram takes a word and reorders the letters into alphabetical order, a fairly simple form of pseudo-encryption. For example, the word “example” would become “aeelmpx”; not instantly recognisable but not the hardest riddle to solve either.

Based on that hunch, the AI has run the text through a decryption algorithm and, again, seems to have hit pay dirt. A large amount of the output words are recognisably Hebrew, with more than 80% matching known Hebrew text. Unfortunately, the AI is no good at translating ancient Hebrew, and the few sentences they have tried don’t make much sense, but it’s a promising start. Hopefully, with the help of scholars more versed in the ancient language, some light may finally be shed on just what, exactly, the Voynich manuscript is or was. And that would be pretty darn awesome!


* Or, indeed, an ancient dungeon master!

The Parisianer: A (Hopeful) Future of Paris

Fake futuristic magazine cover depicting a man manipulating a hologram display in front a tree which is partially moultingI have to admit, after a particularly awful experience well over a decade ago I have deliberately avoided travelling through the Charles de Gaulle airport in Paris. As a result, I had no idea about the on-going (and absolutely stunning) art installation/project taking place there. I still wouldn’t if it weren’t for Khoi Vinh.

It’s almost enough to make me want to lift my travel ban (almost). It’s certainly a project that is right up my street, producing beautiful illustrations depicting what the future of Paris (and, by extension, the world) might be. There’s a lot of fantastical science fiction on display, from aliens to integrated hydroponic schemes to space elevators and beyond.

The designs alone are stunning but some of the ideas also really caught my imagination. Take for instance the image above: what’s going on here? Is the tree real but the environment completely micromanaged by the person shown? Is the tree fake, perhaps a hologram being manually ‘updated’ to show the changing of the seasons? Is he administering some kind of medication to turn back the tide of a withering disease? It’s a wonderfully simple image but the amount of possibilities it contains is fascinating. I’m quite tempted to buy my own print. Or possibly pick up the final, published work when it is released.

Creodonts & The Absurdity of Extinction

I just fell down a rather wonderful rabbit hole. My tale begins with a book review, written by Ross Barnett, of Sabretooth (Mauricio Anton). Apart from instantly causing me to add the book to my “to buy” list, the article also briefly lists the various mammalian clades which have exhibited sabre teeth in the past. Amongst this list were those I had expected, such as machairodonts (e.g. the famous Smilodon) and the marsupial Thylacosmilus, but it also contained several I had never heard of. Most notably, it mentioned creodonts.

If I’ve ever come across creodonts before I wasn’t paying much attention because these creatures are fascinating. As a group they are an early success story in the mammalian radiation that occurred at the ending of the Cretaceous, yet despite their broad range and varied niche placement they are now utterly gone. Whilst they may look akin to modern hyenas, cats and even bears, the creodonts are not closely related (or basal) to the carnivorans. They are their own unique, and now absent, thing.

I’ve always found the notion of entire clade extinction somewhat absurd. I remember first reading about the K/T event that signalled the extinction of the dinosaurs and, even at an age written in single figures, feeling that there was something inherently wrong with the narrative. I get how large, extinction level events cause biodiversity to crash, but the idea that such a wildly successful and diverse group of creatures would all succumb seemed silly. I must admit, then, that as I’ve aged it has been with increasing smugness that I’ve watched the consensus switch from “dinosaurs are extinct” to “non-bird dinosaurs are extinct”. Frankly, at this point, I feel the old narrative should just be ignored. The K/T event knocked several wonderful animal groups on their respective heads, but the dinosaurs were not amongst them.

Still, though, the plesiosaurs, pliosaurs, ammonites and myriad pterosaur groups were all wiped out, amongst many, many others. Whole families, even genera, do go extinct, often with frightening rapidity when everything is considered. That still feels odd, plus more than a little disappointing, and I can now add creodonts to the list of groups which I would love to have had the chance to meet.

But my journey didn’t stop there. Intrigued and fired up by the beautiful imagery of Sabretooth, I went hunting for palaeoart of creodonts. Unfortunately, I largely came back empty handed, but my wide Googling did lead me to discover a new blog to subscribe to: Into the Wonder. It’s a loose connection to the subject I was after, but it’s always fun to discover someone actively writing about developing fantasy lore and creature creation!

Plus, who knows? It took over a century for someone to realise the creodonts were not just another branch of Carnivora, which is a large enough group for some individuals to have only undergone cursory examination, so perhaps they actually aren’t all gone. Maybe, just possibly, one day in the future, some slightly odd mustelid or squash-faced felid will turn out to be a creodont in hiding. Maybe that discovery will even answer questions about an unsolved riddle of folklore? It’s possible… though it’s probably also asking far too much…

The Marvel-ous Collection: A Beginning

I’m a pretty big fan of the Marvel Cinematic Universe, so it felt a bit ridiculous when I was given Guardians of the Galaxy: Volume 2 for Christmas. To be clear, the gift wasn’t ridiculous; it’s a fantastic film and one I’ve been excited to rewatch since seeing it in the cinema. The ridiculous part was that this officially marked the start of my Marvel Bluray collection. That’s right, I might be a huge fan of the franchise and own a fairly sizeable solid-media movie collection, but I’m almost entirely absent the MCU!

I say almost, because in truth I do own both Guardians of the Galaxy (now Volume 1, I guess) and Captain America: The Winter Soldier on DVD, but for a 17 film franchise (at time of writing) that’s pretty meagre. Part of that reason is the Bluray dilemma: ultimately, I don’t care that much about the increased resolution for most films, but I definitely care about the extra features. As Bluray has become the de facto release location for collector’s editions and special features, I was increasingly left behind, waiting for both an excuse to buy a Bluray player and then, later, for prices to drop back to the realms of sanity.

Luckily, 2017 saw both goals achieved. Whilst Blurays remain expensive (Marvel’s particularly so), they’re now at an acceptable premium above the respective DVD release, so with bonus featurettes, content and a better picture quality they feel somehow more worthwhile. At the same time, Marvel finally released a collected set for both Phase One and Phase Two, something I find bizarre has taken half a decade. I mean, what other purpose does the marking of “phases” serve then to artificially create film sets? At any rate, the result was a sudden galvanisation to fill in the blanks and finally own some of my favourite superhero films.

Unfortunately, a quick look at the contents of the collected sets left me a little cold. Yes, there are new bonus scenes, animatics and fun Agent Coulson introductions for each of the films, but they also lack a number of key special features from previous releases, especially the big documentaries. As a result, I’ve thrown in the towel! If Marvel/Disney can’t get their act together and release a definitive edition of the MCU then I’ll just create one myself.

The first hurdle was finding out what variations existed, what the actual differences were and then weighing up the pros and cons. Luckily, Reddit came to my aid (after Google summarily failed) with a raft of suggestions for comparison websites geared towards just this kind of task.

Since then, I’ve been slowly going through the films, one by one, narrowing down my options until I’ve found the exact version that most intrigues me. So far, the few I have settled on have been “out of print”, but luckily a robust second hand market appears to exist, keeping resell prices low. It’s slow going, but honestly I’m finding it quite fun. I’m also tracking my decisions and aim to release a full list, and break down of why I chose each film’s specific version, once I’m done.

For now, I figured it would be worth a quick round-up of the websites I’ve found most useful, so without further ado, and in no particular order, here are my top five film hunting locations:

1. DVD Double Dip
Not the prettiest site, nor the most complete in terms of information, but what it does have is extremely easy to read, compare and review. Probably the best starting point I’ve found but take the accuracy with a pinch of salt.

2. DVD Compare
Very accurate, particularly when it comes to extra features, and great for comparing regional differences in films. Take particular note of the “Cuts” and “Overall” sections at the bottom of a search page to see if the film is actively censored anywhere in the world. I wish you could compare films side-by-side, but still easily my favourite comparison site.

3. Blu-Ray.com
Probably the most complete database of film releases on this list but a bit of a pig to search accurately. There’s no way to easily compare film versions without opening multiple tabs, but you can filter by country directly on the search bar and the user reviews are solid, often clearing up any confusion over oddly phrased features.

4. Filmogs
Another very complete database without easy comparison methods. Easier to navigate than Blu-Ray.com but the search is less intelligent (e.g. “Avengers” fails to pull back any collected sets). Again, useful for getting more information, plus acts as a competitively priced marketplace.

5. /r/DVDCollection
If all else fails, ask here and someone will probably either know the answer or own the film and be able to tell you. Really helpful bunch!

Of course, once you’ve narrowed down your options and decided which version is just right, you still need to buy the darn thing. Obviously if you’re looking at buying new then all the normal locations apply, but for second hand movies I’m having most success at the following:

1. Music Magpie – though be wary, several times I’ve spent a while looking at a film, come back later and found the price has shot up. Leave it a few days and it seems to drop back down again.
2. eBay
3. CEX
4. Amazon Marketplace

Happy hunting!

New Year, New Phone? Compare the Camera First

Currently, both myself and my partner are looking into replacing our mobile phones (her slightly more urgently). As a result, we’re both quite deep in the mire of tech reviews, contract comparisons and general research. For the most part, this has only gone to prove what I wrote about several weeks ago: the mobile phone market is stagnant. None of the current generation’s big, flashy marketing gimmicks are even close to being on my list of desirable features, whilst previous years’ genuinely useful innovations seem to have almost entirely disappeared (looking at you, waterproof casings!).

As a result, more so than at any time I’ve previously delved deep into the mobile market, the minor differences and quality of parts are becoming increasingly important. For both of us, one of those now-standard features which can make or break a mobile is the camera, but trying to really tell the difference between two handsets ability is getting incredibly hard. Long gone are the days of pixel wars, where the MP rating was a broadly useable mark of quality. Now all phones have far too many pixels to ever be needed, meaning the calibre of the lens and processing software is much more important. Here, too, though it has become harder to tell pro from imposter, with even relatively basic mid-tier handsets boasting chips and glass from reputable sources like Zeiss and Samsung.

So the discovery of GSM Arena and it’s phone comparison tools (all credit goes to my partner for the actual discovery, of course) is a real boon. It’s a brilliant website – irritating banner ads aside – which is surprisingly fast to load extremely high resolution, balanced images taken with any number of mainstream mobiles. Not just photos, but stills taken from video recordings are present as well, able to be synced between three phones for immediate comparison. It’s a fantastic tool for quickly and accurately comparing models, with some surprising results. Personally, my favouritism of Sony has seen me eyeing up the XZ1 Compact, but having viewed the direct comparison between the Galaxy S8 I’m now a little put off (though oddly the video still seems much sharper). Most disappointing has been the Huawei Mate 10 Lite, which impressed me in store but at this detail is clearly lagging far behind.

Still, personal problems aside, it’s a cracking service and well worth shouting about!

The New 52: A Summary [#52]

So the end is nigh. Fifty-two weeks, fifty-nine articles, two failures and the most complete challenge I’ve ever set myself. Sure, I may not have managed to write once a week, every week, during 2017 but I have managed to write a whole lot more than I would have done otherwise. I’ve documented my plan to record more of my media in 2017 than ever before, only to have innovative new technology create a road block. I’ve shared my ever increasing love and interest in photography, including some very big personal milestones. I’ve received my first genuine comment, not just from an anonymous stranger on the internet but from a creator and individual whom I have followed for years. I’ve discussed my own life, my travels, worries, annoyances and ideas; I’ve had a space to comment on wider industry trends, disturbing news stories and things which I’ve just found interesting.

It’s been a fantastic, frustrating and, at times, not particularly well executed fifty-two weeks. On the whole, though, I’m extremely proud of, and pleased with, the fifty official “New 52” posts that were published (see full list below – now numbered correctly). I’m also a little astonished that only six of them are MiM posts, with most being self contained articles I would likely never have written if it weren’t for this challenge. Sure, I’m annoyed that I missed two weeks, just like I’m annoyed that there are several MiMs and other articles still sat in my drafts folder, but that doesn’t take away from the accomplishments I have made.

So then, the next question is: fifty-two more? Well, put simply, no. I still plan to post, particularly with media reviews, but 2017 was about finally finding the courage to put my writing out into the world, and forcing myself to do so. That has now been achieved and I’m very happy with the end result. The next step is to focus that energy into new challenges and new skills. I will not be starting 2018 with any specific challenge or checklist of goals; instead, I’m going to forge forward with several ideas. The first step will be to clear out/complete as many incomplete projects as possible, beginning with that drafts folder. It’s ridiculous that I have drafted movie reviews from October 2016 that have never seen the light of day. It’s equally ridiculous that I have spent over a year talking about migrating theAdhocracy; changing the article format; implementing home-brew backed cross posting; and getting some of the travel videos I’ve shot edited, uploaded and accessible. The last year has been about learning new skills, proving that I can balance commitments with creative endeavours and working out where I enjoy putting my energy. I’ve now got a pretty good idea of how that will all work, so the next step is to begin applying it. I’m excited to see what my year-in-review will look like in another twelve months time, but the aim is for it to be even more diverse!

New 52 Challenge Posts:

  1. The New 52: A Challenge
  2. Scrobbling Movies
  3. Rating my Opinion
  4. A New Mozilla
  5. Month in Media: January 2017
  6. Martian Mirrors
  7. Interneting is (Apparently) Hard
  8. The Existential Crisis Question
  9. Awesome Azhdarchids
  10. TV vs Film: The Great Debate
  11. Willow, Wetlands & Nostell Priory
  12. Empathy Just Makes Sense
  13. Thoughts from Around the Web
  14. Month in Media: March 2017
  15. April Foolery 2017
  16. Duping the Genie
  17. Finding the Time
  18. Echoing Frustration
  19. Hyperfocal Stone Rows
  20. Vinyl Scratchings
  21. Factual Distrust
  22. Welcome Home
  23. Mister Vimes’d Go Spare & Assorted Odds ‘n’ Ends
  24. A Gap in Time
  25. Peaks & Troughs
  26. Security All The Way Down
  27. Month in Media – June 2017
  28. Marrs Green
  29. The Poetry of Spam
  30. Untapped Market
  31. That Anti-Diversity Googler & Self Introspection
  32. Where is Superwoman?
  33. The Weight of Opportunity
  34. Stickers, Eclipses and Lighthouses
  35. Life Between the Worlds
  36. When is a Cat a Mongoose?
  37. Sunrise on the Quiraing
  38. Month in Media – September 2017
  39. Month in Media – July 2017
  40. Forgotten & Surreal Instruments
  41. Welcome to the Grid
  42. Asking the Right Answers
  43. Insta Inspiration
  44. Fair Phones & Mobile Woes
  45. Dark Booking Patterns
  46. Month in Media – November 2017
  47. Spiders, Dinosaurs and CVs
  48. Death of the Internet
  49. Remember: Anger Leads to the Dark Side
  50. The New 52: A Summary

Remember: Anger Leads to the Dark Side [#51]

It is Christmas Eve and the penultimate week of the New 52 challenge! There’s a nice symmetry to that, which, of course, is why I picked today to write a post… and nothing to do with it being the run-up to Christmas as well as the approach to a fairly major shift in life direction (more on that at a later date, I’m sure), leading to a distinct lack of down time.

But that’s not what this post is about. I’ll likely cover the whole 52 project next week (and sort out the numbering), but right now I want to discuss a recent holiday tradition: the annual return to a galaxy far, far away. Keeping to their promise of one a year until people stop watching them, Disney have just released the latest episode of Star Wars, and boy has it been an interesting response. Oh, and just as a heads up there may be spoilers ahead!

I want to state straight away that yes, I’ve seen The Last Jedi, and no, this isn’t going to be my review. I’ll leave that for the December MiM as is the norm, but a quick summary would be that I thought it was enjoyable but a little odd. I think at it’s core there is a good film, backed by some great performances, and even the slightly odder thematic choices have the possibility to pay off in the next episode. I didn’t leave the cinema leaping for joy but I definitely didn’t leave feeling like my childhood had been trampled all over*. Nor did I feel the strong urge to petition for the film’s complete erasure from history.

To say, then, that The Last Jedi has been divisive is a bit of an understatement. It’s fairly rare for a film with a 92% fresh rating on Rotten Tomatoes and a critics metascore of 86 on IMDB to receive this kind of backlash. That disconnect, where critics are lavishing praise but viewers are voicing scorn, is generally a bit weird but especially when the film is a main-stream blockbuster, not some hyper arthouse concept. I’d honestly expect people to be doing a reverse BvS and claiming that Disney are just buying good reviews, but can’t find any such claims.

To be fair, the user score on IMDB seems to have settled somewhere around the 7.7 mark, but even that doesn’t tell the whole story. Take a look at the breakdown of those user scores (see graph below) and you’ll notice more oddities in the data. Most people are rating the film at 8 stars or higher; combined with a solid grouping of 7 star reviews and 75% of people think this is a 7+ star film. If you look at its direct predecessor, The Force Awakens, you see a similar trend, with the majority rating 8 or higher and a strong minority favouring 7 stars. In fact, TFA shows a stronger tail-off towards 10 star reviews, which (again, weirdly) are more common than 9 star reviews for TLJ. But despite the similar trends, TFA sits with an average score of 8.1, still lower than its 93% on Rotten Tomatoes but sitting spot on the 81 metacritic score and more inline with general industry trends. So why is TLJ so low? That would be the 6% of people giving this film a 1 star rating, a huge and very uncommon spike. The other low reviews all tail off in a normal trend line, then you hit 1 star and it jumps right back up.

It’s important to note here as well that the initial reaction was much, much more negative. Early aggregate scores placed TLJ at a meagre 5.6 from user reviews, which is even more fascinating. That implies that those who rushed out to see the film, people you can expect are big fans of the franchise, were the least impressed with what they saw.

Graph of user ratings from IMDB for The Last Jedi showing that the vast majority of people rated it 8 or higher but a very large minority is pulling that score down with disproportionate 1 star scores.

Which is a long winded way of saying: this film isn’t just a film some people aren’t getting – it’s a film which some people hate. You only get that kind of anomalous trend when emotions are involved and it’s fairly clear from reading any of the actual user reviews that these are running high. It’s something I find fascinating, as it suggests the kind of emotional response and cognitive shut down normally associated with tribal defensiveness. Its the kind of reaction you get in the US when gun control or abortion is brought up; in the UK when you mention Brexit or class. It’s a hardwired defense of an idea that you see as integral to your in-group, your tribe. It’s not normally something you see on this scale with popular culture.

Sure, there are plenty of instances of fandom infighting and tribalism. Heck, Star Wars vs Star Trek has been raging for nearly half a century and don’t even begin to prod the circle-jerk that is PC vs console, but whilst these ideas evoke strongly worded arguments and never-ending debate they rarely result in the kind of knee-jerk anger and frustration The Last Jedi has kicked up. And yes, some of that is likely misplaced political idealism reacting to a film which glorifies female and ethnic minority characters whilst demonising classic white male figures, but I struggle to believe that’s even close to the majority of the story. As the author of that now infamous Change.org petition himself has stated, most are just fans of Star Wars that feel that The Last Jedi has hurt the franchise.

The biggest arguments and most grief seem to centre on the aspect of The Last Jedi that I, and seemingly a large, silent majority of people, particularly liked. TLJ is not a standard Star Wars film. Yes, there are plenty of call-backs to the original trilogy, fan service is still here and the major themes are all still caught up with concepts like the Force and rebels and evil empires, but it also goes out of its way to flip as many of those tropes as it can. There are times this does feel forced, but ultimately it works more than it fails and creates a film which actually forces the audience to question themselves. It is flawed, but it definitely isn’t mindless. I mean this is a Star Wars film which actually tries to argue that bravado and pure heroics are sometimes the worst course of action possible. That’s a bold move for a franchise built on death-defying acts of heroism and concepts of fate, destiny and prophecy.

What we’re left with is a film that delivers on the promise not to repeat the main criticism of The Force Awakens and be just another carbon-copy of stories already told. In doing so, it takes the franchise far outside of its well worn comfort zone and casts it, quite literally at times, out into unknown, unmapped territory (do you see what I did there?). It massively expands or completely obliterates canon and fan theories, elements that the Star Wars universe is particularly heavily associated with, and actually dares to develop several of the main characters from the original trilogy, often in ways that casts past actions in new lights. Most importantly, it ensures that the Star Wars story is about more than just the Skywalker lineage. I can understand why that would piss a whole lot of people off, but frankly it also needed to happen. Personally, what I’m most fascinated by is what the legacy of the film becomes next. Will people grow to love it over time? Will it age poorly, as with the prequels? Will it force Disney to do an about turn and mix up episode IX to be more fan friendly or will they double down on their new, now truly expanded universe? I’m honestly not sure, but I’m excited to see where Star Wars will now boldly go**.

*I’m using that article here in a slightly misleading way. Despite the title, the author does an extremely fair job of both outlining why TLJ was painful for him to watch on a personal level and objectively analysing that feeling. His conclusions are pretty solid and well reasoned, and mostly fall on the positive side regarding the film. I could have linked to any one of a number of genuinely hate filled rants complaining about the loss of precious memories, but honestly most are incoherent and I feel the linked article is a genuinely worthwhile read on the subject. Just wanted that to be clear.

** Couldn’t help myself.

Death of the Internet [#50]

December 14th 2017: The day the internet died.

It’s a weird thing to wake up to, the repeal of net neutrality in the US. There’s is absolutely nothing that I, as a British citizen, could do to prevent the FCC from taking this course of action. Which, to be fair, isn’t too far from the reality for American citizens either; the result is not particularly unexpected, despite widespread criticism.

There’s also no way of knowing the impact it will have. Worst case scenario, as a non-American, would be seeing other governments (particularly my own) mimicking the decision and formally handing the web over to corporations, rather than people. Except, outside of the US the ISP market isn’t dominated by monopolies, so the market would actually stand a chance at forcing effective neutrality. That means I’m fairly insulated from the most obvious repercussions. Harder to measure, but probably more likely, are the ripple effects. How many new services will simply never exist if US providers decide that road blocks are more profitable than open highways? How much innovation in Silicon Valley will be lost to firms spending less on R&D and more on bandwidth?

On the other hand, if ISP’s in the US do abuse their new powers it could lead to the slow (or relatively sudden, depending on perspective) eroding of the US as a global leader in technology and software. Whilst the UK is not exactly well placed to pick up that slack, countless other countries would likely benefit. Less of an American influence on the web could actually be widely beneficial (of course, not to Americans).

The result is that the loss of net neutrality, from a global perspective, is a bit of a grey area. We may benefit or we may lose, but ultimately we will be slightly more able to shape that destiny. The ridiculousness of the decision is that such luxury is not afforded to the US itself. They are the ones rolling the dice, but they’re also the ones with the highest stake, all balanced precariously on an unknown odd. No matter what happens next it’s pretty unlikely the US will benefit, but the rest of the world just might.

On that note, if you are in the US and are rightfully worried/angered by the decision that occurred yesterday, I’d point you towards Ethan Marcotte’s break down. It offers a slim silver lining which is plausible (unlike some of the others doing the rounds) as well as an even, yet irritated, overview of what it could actually mean. Well worth a read and well worth enacting.