The Supreme Court’s rulings gutting the U.S. government last week have made two political realities clear: White male Americans will do anything to retain power; and we must be stripped of it soonest.
And it starts with demonetizing journalism. In an era where misinformation runs rampant and profit-driven media outlets dominate the landscape, it is imperative that we rethink our approach to journalism. The truth, a cornerstone of democracy, should never be for sale.
Publicly funded journalism, exemplified by NPR, PBS, and the BBC, offers a model that prioritizes accuracy, integrity, and public service over corporate profits. These institutions have proven time and again that quality journalism can thrive without the influence of advertisers and shareholders.
When profit becomes a driving force in news, the pursuit of truth takes a back seat. Sensationalism, clickbait, and partisan spin replace objective reporting, leaving the public misinformed and divided.
We must treat journalism as we do our public libraries: essential pillars of a well-informed society. Just as libraries provide free access to knowledge, publicly funded media should ensure that everyone has access to reliable information.
Public funding for journalism would safeguard against the corrosive effects of corporate interests. It would allow journalists to focus on uncovering the truth without the pressure to generate revenue.
The truth should be free, accessible to all, and uncompromised by the pursuit of profit. By adopting a public funding model for journalism, we can create a media landscape that serves the public good rather than private interests.
It is time to defend and fund journalism as a vital American fixture.
Finally, a monster worth fearing. Forget the rubber suits and toy buildings. This kaiju wants to kill u.
“Godzilla Minus One” emerges as a triumphant return to the roots of kaiju cinema, brilliantly capturing the essence of the 1954 original while infusing it with modern sensibilities.
Director Takashi Yamazaki’s vision transcends typical monster movie tropes, delivering a poignant exploration of post-war trauma intertwined with awe-inspiring spectacle.
Set in 1945, the film’s narrative ingeniously uses Japan’s immediate post-war period as more than just a backdrop. This temporal setting allows for a nuanced examination of themes such as survivor’s guilt, national identity, and the moral implications of scientific advancement.
Our hero, Koichi Shikishima, serves as a microcosm of Japan’s post-war identity crisis, his journey from disillusioned kamikaze pilot to reluctant hero mirroring the nation’s transition from militarism to pacifism.
Yamazaki’s background in visual effects shines through in the film’s stunning portrayal of Godzilla. The monster design strikes a perfect balance between honoring the iconic silhouette and incorporating modern paleontological insights. The seamless integration of CGI with practical effects creates a tangible sense of scale and presence, crucial for the film’s impact.
The cinematography, led by Kozo Shibasaki, employs a desaturated palette that evokes both period authenticity and emotional gravitas. Dynamic camera work during action sequences contrasts effectively with contemplative static shots, creating a visual language that underscores the film’s thematic duality.
The auditory landscape of “Godzilla Minus One” is a character in itself. Sound designer Shoji Hata reimagines the iconic Godzilla roar with a deeper, more guttural quality, symbolizing the monster’s connection to earth and nuclear devastation. Naoki Sato’s score masterfully blends traditional Japanese instruments with orchestral elements, enhancing the film’s emotional resonance without overpowering the visual narrative.
A crucial aspect elevating “Godzilla Minus One” for international audiences is its presentation in subtitles. The approach is a master stroke, surpassing dubbed versions because the plot is never lost in translation or emphasis. The dubbed version is weaker by magnitude.
“Godzilla Minus One” is not merely a return to form; it’s a reinvention of the kaiju genre for the 21st century. By grounding fantastical elements in historical reality and psychological depth, Yamazaki has created a work that resonates on multiple levels.
This approach not only honors the film’s Japanese origins but also enhances its universal themes. “Godzilla Minus One” sets a new standard for monster movies: He’s not monkeying around.
