’Nosferatu’ Rises Again — Gloriously


I’m not certain whether Rober Eggers believes in god. But I’m sure he believes in the devil. Witness Nosferatu.

Nosferatu is a masterpiece of shadow and menace, a triumph of Gothic horror that rekindles the haunting allure of the original while standing as a singular vision in its own right.

Eggers’ Nosferatu is more than a remake—it’s a reinvention, a vivid nightmare brought to life with unrelenting artistry. Channeling the eerie stillness of F.W. Murnau’s 1922 silent classic, Eggers weaves a tapestry of dread that feels at once timeless and bracingly new.

This is not homage for the sake of homage but a director at the height of his craft, paying reverence while daring to reimagine.

Bill Skarsgård as Count Orlok delivers a performance that chills to the bone. With his gaunt, almost alien physicality, he embodies the grotesque allure of a predator who is both repellent and magnetic.His every movement feels deliberate, calculated, and impossibly inhuman—a living shadow haunting the screen.

Opposite him, Lily-Rose Depp brings unexpected depth to Ellen Hutter, transforming what could have been a passive victim into a figure of quiet strength and tragic beauty. Depp’s Ellen is more than prey; she is a soul wrestling with fate, her luminous presence cutting through the film’s enveloping darkness.

The cinematography, by Jarin Blaschke, deserves special mention. Every frame is painterly, drenched in ominous blues and searing blacks, where light fights desperately against encroaching darkness.

The interplay of shadow and silhouette is breathtaking, recalling German Expressionism while feeling utterly contemporary. Eggers’ attention to historical detail and his obsession with atmosphere result in a film where every element, from the creak of a door to the whisper of wind, pulls us into its otherworldly grip.

Eggers is a filmmaker unafraid of taking risks, and Nosferatu thrives on its slow, deliberate pacing. Some may find its measured approach alienating, but those willing to surrender to its rhythms will find a film of rare power—horror that seeps into your bones rather than shocking you with sudden jolts.

Nosferatu is more than a film; it is an experience, a descent into the uncanny that lingers long after the credits roll. Eggers has crafted a rare horror movie, one that respects its roots while staking its claim as something wholly new.

Open Letter to The U.S. Patent Office


 Open Letter to the United States Patent and Trademark Office (USPTO)

Thanksgiving Day 2024

United States Patent and Trademark Office

600 Dulany Street

Alexandria, VA 22314


Dear Esteemed Members of the USPTO,

I am writing to formally submit a proposal for a new invention that has the potential to significantly enhance road safety: the Front Brake Light.

The existing brake light system on vehicles is limited to the rear of the vehicle. While effective for communicating deceleration to following drivers, it leaves other road users, such as pedestrians, cyclists, and oncoming traffic, in the dark—literally—about a vehicle’s intent to slow or stop. The Front Brake Light addresses this critical safety gap by providing clear, visual communication to all road users, not just those behind the vehicle.

Description of the Invention

The Front Brake Light is an auxiliary lighting system installed on the front of a vehicle. When the driver applies the brakes, a dedicated light fixture illuminates, signaling to pedestrians and oncoming traffic that the vehicle is actively decelerating.

The system can be integrated seamlessly into modern vehicle designs, potentially placed near the headlights or in a designated area on the front grille. Advanced models could incorporate adaptive LED technology, providing a brighter and more noticeable signal.

Justification and Safety Benefits

1. Improved Pedestrian Safety

Pedestrians crossing in front of a vehicle will have an immediate visual cue that the driver intends to stop, reducing the risk of misjudging the vehicle’s movement.

2. Increased Cyclist Awareness

Cyclists traveling against traffic often lack clear communication about a vehicle’s intentions. A front brake light can serve as a critical warning to prevent collisions.

3. Enhanced Oncoming Traffic Communication

Drivers in opposing lanes can better anticipate potential lane transitions or slowing traffic when approaching a vehicle equipped with a front brake light.

4. Proven Concept, Expanded Application

The rear brake light is universally acknowledged as a lifesaving innovation. Expanding its functionality to the front of vehicles builds on this proven concept, enhancing safety for all road users.

Innovation and Feasibility

This invention does not replace existing systems but augments them to create a more inclusive and communicative safety framework. Modern vehicles already incorporate sophisticated electrical systems, making the integration of a Front Brake Light both cost-effective and technically feasible.

Patent Request

I respectfully request the USPTO to recognize the Front Brake Light as a novel invention deserving of patent protection. The concept introduces a new dimension to vehicle safety, one that acknowledges the needs of all road users, not just those positioned behind the vehicle.

This invention aligns with global efforts to reduce traffic-related fatalities and injuries, particularly among vulnerable populations like pedestrians and cyclists. By approving this patent, the USPTO can contribute to a significant advancement in public safety.

Thank you for your consideration of this proposal. I am happy to provide further details, technical specifications, or demonstrations as required. I look forward to your response and the opportunity to contribute to safer roads through this innovation.

Sincerely,

Scott Bowles

Deja Viewed: ‘Napoleon Dynamite’



It’s hard to believe it’s been 20 years since Napoleon Dynamite awkwardly danced its way into our hearts and defined a generation of quirky indie comedies.

Released in 2004, the film, directed by Jared Hess and starring Jon Heder as the titular oddball, defied all conventional wisdom about what makes a movie a hit.

Made on a shoestring budget of $400,000, it grossed nearly $46 million at the box office and spawned a cultural phenomenon that still resonates.

At first blush, Napoleon Dynamite seems like a small, peculiar movie about nothing in particular. Set in rural Preston, Idaho, it follows the daily misadventures of Napoleon, a socially awkward high schooler with a talent for awkwardly trying to fit in.

Whether he’s doodling ligers (“pretty much my favorite animal”), practicing his sweet nunchuck skills, or helping his best friend Pedro run for class president, Napoleon’s world is unapologetically bizarre—and yet utterly relatable.

What makes Napoleon Dynamite enduring is its unique ability to find humor and heart in the mundane. Every character, from Napoleon’s obsessed-with-the-’80s dork brother Kip (“Yes, I love technology!”) to their delusional Uncle Rico (still dreaming of his high school football glory days), feels like someone we might know—or at least someone we could imagine existing in a very specific corner of America.

The film doesn’t rely on slapstick or over-the-top gags; its comedy lies in its sincerity. It’s funny because it’s true—or at least truth adjacent.

The performances are pitch-perfect. Jon Heder’s deadpan delivery and physical comedy make Napoleon unforgettable, but it’s the ensemble cast that gives the film its richness. Tina Majorino’s quietly cool Deb, Efren Ramirez’s soft-spoken Pedro, and Diedrich Bader’s no-nonsense Rex (of Rex Kwon Do fame) each bring their own charm to the offbeat world Hess created. And Napoleon’s brother Kip (Aaron Ruell) is a world unto himself.

Every line feels quotable because the script captures an absurdly specific yet universal awkwardness. Who among us hasn’t wanted to “build a cake or something” to make friends?

Visually, the film’s style matches its quirky tone. The flat landscapes, muted color palette, and retro fashion choices (those moon boots!) ground the story in an exaggerated version of small-town Americana.

Combined with its eclectic soundtrack—an odd but perfect mix of Bow Wow Wow, Jamiroquai, and an original score by John Swihart—the film creates an atmosphere that’s unmistakably Napoleon Dynamite.

But the true genius of Napoleon Dynamite is its heart. Beneath the absurdity is a surprisingly earnest story about finding one’s place in the world. Napoleon, for all his eccentricities, never wavers in being unapologetically himself.

Whether he’s choreographing his talent show dance to Jamiroquai’s “Canned Heat” or helping Pedro win over the student body, he embodies a kind of confidence that’s both enviable and endearing. The film’s message is clear: embrace your weirdness, because it’s what makes you special.

As Napoleon Dynamite turns 20, its impact remains undeniable. Few films have managed to capture the essence of awkward adolescence with such humor and affection. Somehow, it’s a movie that feels as fresh and weirdly wonderful today as it did in 2004.

Watching it now, you’re reminded of just how rare it is to find a film that’s both laugh-out-loud funny and unapologetically sincere.

So here’s to Mr. Daynamite, Pedro, Kip and Deb love you more than you know (whoa whoa whoa). Thank you for the laughs, the nostalgia, and for teaching us all that the world could always use a little more tetherball, tater tots, and dance-floor courage. Gosh!