This has been rather a big week for your humble servant in the print-only realm. First, there was that citation in The New Yorker I mentioned below (My Lovely Wife has a younger cousin rather new to the publishing world of N.Y.C., such as it is these days, who was particularly impressed with this), and now the November/December issue of Film Comment is hitting newsstands and reaching subscribers; contained therein is my piece "This Can't End Well: How We Live Now, or The New Humanism According To Alejandro González Iñárritu." Titles considered (by me, at least) prior to the one that made it included "What's So Funny 'Bout Alejandro González Iñárritu?" and "Johnny LaRue Gets His Crane Shot." Here is a sample passage from the article: "There's a scene in Iñárritu's new film Biutiful, in which the lead character—a dying Barcelona wheeler-dealer/psychic quite impressively played by Javier Bardem—buys some cheap gas heaters to install in the basement dwelling of some Asian illegal immigrant laborers. 'This can’t end well,' a savvy viewer might note, given the attention devoted to the purchase. Even without the input of writer Arriaga (whose departure is definitely for the best) Iñarritu keeps leaning on the 'what incredible irony!' button—and attempting an end run around would-be skeptics, via the emotional intensity of what he's depicting. Wilde’s observation on the death of Little Dorrit notwithstanding, such stuff can still work like a charm, and the critic who balks can expect to be called out not just on jadedness and glib cynicism, but on out-and-out hard-heartedness. Sure, grouse all you want to; point out that if sincerity were all, John Denver would be as great an artist as Nick Drake. Sincerity might not be everything, but it’s something, and Iñarritu can’t be faulted for that, can he?" The rest, as I mentioned, can only be enjoyed, I hope, in the dead tree edition of the magazine, so by all means do go check it out if you're so inclined, and get back to me on my hard-heartedness and stuff.