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Pre-Oscar Marathon: Top 15 Movies About the Movies

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I felt it apropos on this Oscar Eve to honor Hollywood’s annual declaration of its deep and abiding love for itself with my picks for the top 15 movies about…the movies. Action!

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Cinema Paradiso Writer-director Giuseppe Tornatore’s 1988 love letter to the cinema may be too sappy for some, but for those of us who (to quote Pauline Kael) “lost it at the movies” it’s chicken soup for the soul. A film director (Jacques Perrin) returns to his home town in Sicily for a funeral, triggering flashbacks from his youth. He reassesses the relationships with two key people in his life: his first love, and the person who instilled his life-long love of the movies. Beautifully acted and directed; keep the Kleenex handy.

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Day for Night– French film scholar and director Francois Truffaut was, first and foremost, a movie fan. And while one could argue that many of his own movies are rife with homage to the filmmakers who inspired him, this 1973 entry is his most heartfelt declaration of love for the medium (as well as his most-imitated work). Truffaut casts himself as (wait for it) a director in the midst of a production called Meet Pamela.

“Pamela” is a beautiful but unstable British actress (Jacqueline Bisset) who is gingerly stepping back into the spotlight after a highly publicized breakdown. The petulant, emotionally immature leading man (Jean-Pierre Leaud) is a fool for love, which constantly distracts him from his work. Truffaut also has to coddle an aging Italian movie queen (Valentia Cortese) who is showing up on set three sheets to the wind and flubbing scenes.

Truffaut cleverly mirrors the backstage travails of his cast and crew with those of the characters in the “film-within-the-film”. Somehow, it all manages to fall together…but getting there is half the fun. Truffaut parlays a sense of what a director “does” (in case you were wondering) and how a good one can coax magic from seemingly inextricable chaos.

The Day of the Locust – Equal parts backstage drama, character study, and psychological horror, John Schlesinger’s 1975 drama (with a Waldo Salt screenplay adapted from the eponymous novel by Nathaneal West) is the most unsettling Hollywood dream-turned nightmare this side of David Lynch’s Mulholland Drive.

Set in 1930s Los Angeles, the story revolves around a Hollywood newbie (William Atherton) who works in the art department of a major movie studio. He rents a cheap apartment housed in a complex chockablock with eccentric tenants, including an aspiring starlet (Karen Black) who lives with her ailing father (Burgess Meredith), a former vaudevillian who wheezes his way up and down hilly streets eking out a living as a door-to-door snake oil salesman.

The young artist becomes hopelessly infatuated with the starlet, but it quickly becomes apparent that, while she’s friendly toward him, it’s strictly a one-sided romance. Nonetheless, he continues to get drawn into her orbit-a scenario that becomes increasingly twisted, especially once she impulsively marries a well-to-do  but socially inept and sexually repressed accountant (Donald Sutherland). It all culminates in a Grand Guignol finale you may find hard to shake off.

A  gauzy, sun-bleached vision of a city (shot by ace cinematographer Conrad Hall) that attracts those yearning to connect with someone, something, or anything that assures a non-corporeal form of immortality; a city that teases endless possibilities, yet so often pays out with little more than broken dreams.

Ed Wood– Director Tim Burton and leading man Johnny Depp have worked together on so many films over the last 30 years that they must be joined at the hip. For my money, this affectionate 1994 biopic about the man who directed “the worst film of all time” remains their best collaboration. It’s also unique in Burton’s canon in that it is somewhat grounded in reality (while I wish his legion of loyal fans all the best, Burton’s predilection for overly-precious phantasmagorical and macabre fare is an acquired taste that I’ve yet to acquire).

Depp gives a brilliant performance as Edward D. Wood, Jr., who unleashed the infamously inept yet 100% certified camp classic, Plan 9 from Outer Space on an unsuspecting movie-going public back in the late 1950s. While there are lots of belly laughs, none of them are at the expense of the off-beat characters. There’s no mean-spiritedness here; that’s what makes the film so endearing. Martin Landau delivers a droll Oscar-winning turn as Bela Lugosi. Bill Murray, Sarah Jessica Parker, Patricia Arquette and Jeffrey Jones also shine.

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8 1/2– Where does creative inspiration come from? A simple question, difficult to answer. Federico Fellini’s semi-autobiographical 1963 classic probably comes closest to “showing” us…in his inimitable fashion. Marcello Mastroianni is fabulous as a successful director who wrestles with a creative block and existential crisis whilst being hounded by the press and various hangers-on. Like many Fellini films (all Fellini films?), the deeper you go, the less you comprehend. Yet (almost perversely), you can’t take your eyes off the screen; with Fellini, there is an implied contract between the director and the viewer that, no matter what ensues, if you’ve bought the ticket, you have to take the ride.

Hearts of the West– In Howard Zeiff’s 1975 dramedy, Jeff Bridges stars as a Depression-era wannabe pulp western writer (a scene where he asks the barber to cut his hair to make him look “just like Zane Grey” is priceless.) He gets fleeced by a mail-order scam promising enrollment in what turns out to be a bogus university “out West”. Serendipity lands him a job as a Hollywood stuntman. Bridges gets able support from Blythe Danner, Andy Griffith (one of his best performances), Donald Pleasence, Richard B. Shull, and veteran scene-stealer Alan Arkin (he’s a riot as a perpetually apoplectic director). Rob Thompson’s witty script gives the wonderful cast plenty to chew on.

The Kid Stays in the Picture– Look up “raconteur” in the dictionary and you might see a picture of the subject of this winning 2002 documentary, directed by Nanette Burstein and Brett Morgen. While essentially a 90-minute monologue by legendary producer Robert Evans (The Godfather, Rosemary’s Baby, Love Story, Chinatown, etc.) recounting his life and career, it’s an intimate and fascinating “insider” purview of the Hollywood machine. Evans spins quite the tale of a mogul’s rise and fall; by turns heartbreaking and hilarious. He’s so charming and entertaining that you won’t stop to ponder whether he’s making half this shit up. Inventive, engaging, and required viewing for movie buffs.

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Living in Oblivion– This under-appreciated 1995 sleeper from writer-director Tom DiCillo is the Day for Night of indie cinema. A NYC-based filmmaker (Steve Buscemi) is directing a no-budget feature. Much to his chagrin, the harried director seems to be stuck in a hellish loop as he chases an ever-elusive “perfect take” for a couple of crucial scenes.

DiCillo’s cleverly constructed screenplay is quite funny. Fabulous performances abound from a “Who’s Who” of indie film: Catherine Keener, Dermot Mulroney, Kevin Corrigan, James Le Gros and Peter Dinklage (in his first billed film role). Dinklage delivers a hilarious rant about the stereotypical casting of dwarves in dream sequences. It has been rumored that Le Gros’ character (an arrogant Hollywood hotshot who has deigned to grace the production with his presence) was based on the director’s experience working with Brad Pitt (who starred in DeCillo’s 1991 debut , Johnny Suede). If true, all I can say is…ouch!

Millennium Actress – I think some of the best sci-fi films of the past several decades have originated not from Hollywood, but rather from the masters of Japanese anime. Films like Akira and Ghost in the Shell displayed a quality of writing and visual imagination that few live action productions match (well, post-Blade Runner).

One of the most unique masters of the form was Satoshi Kon (sadly, he died of cancer in 2010 at 46). His films mix complex characterizations with a photo-realistic visual style; making me forget that I’m watching animation. Kon drew on genres not typically associated with anime, like adult drama (Tokyo Godfathers), film noir (Perfect Blue), psychological thriller (the limited series Paranoia Agent) and this 2001 character study.

A documentary filmmaker and his cameraman interview a long-reclusive actress. As she reminisces on key events of her life and career, the director and the cameraman are pulled right into the events themselves. The narrative becomes more surreal as the line blurs between the actresses’ life and the lives of her film characters. Mind-blowing and thought-provoking, it is ultimately a touching love letter to 20th Century Japanese cinema.

Mulholland Drive – David Lynch’s nightmarish, yet mordantly droll twist on the Hollywood dream makes The Day of the Locust seem like an upbeat romp. Naomi Watts stars as a fresh-faced ingénue with high hopes who blows into Hollywood from Somewhere in Middle America to (wait for it) become a star. Those plans get, shall we say, put on hold…once she crosses paths with a voluptuous and mysterious amnesiac (Laura Harring).

What ensues is the usual Lynch mindfuck, and if you buy the ticket, you better be ready to take the ride, because this is one of his more fun ones (or as close as one gets to having “fun” watching a Lynch film). This one grew on me; by the third (or was it fourth?) time I’d seen it I decided that it’s one of the iconoclastic director’s finest efforts.

Nouvelle Vague – A heady and freewheeling backstage drama/fan fiction from Richard Linklater about the making of Breathless, the film that ushered in the French New Wave. Linklater not only offers a “fly on the wall” perspective with an uncanny recreation of the original production (right down to the camera work, film stock and screen ratio), but renews your faith in a medium that has become more about bombast, box office, and back end than characters, concept, and conflict. This fine 2025 release may have been snubbed by this year’s Academy voters (for various technicalities), but did earn 10 Cesar Awards nominations (winning Best Director for Linklater, making him the first American to win the category), as well as Golden Globe Awards and Independent Spirit Awards nominations. (Full review)

Once Upon a Time in Hollywood – “Surely (you’re thinking), a film involving the Manson Family and directed by Quentin Tarantino must feature a cathartic orgy of blood and viscera…amirite?” Sir or madam, all I can tell you is that I am unaware of any such activity or operation… nor would I be disposed to discuss such an operation if it did in fact exist, sir or madam.

What I am prepared to share is this: Leonardo DiCaprio and Brad Pitt have rarely been better, Margot Robbie is radiant and angelic as Sharon Tate, and 9-year-old moppet Julia Butters nearly steals the film. Los Angeles gives a fabulous and convincing performance as 1969 Los Angeles. Oh, and Once Upon a Time in Hollywood is now my favorite “grown-up” Quentin Tarantino film (after Jackie Brown). (Full review)

The Story of Film: An Odyssey is one long-ass movie. Consider the title. It literally is the story of film, from the 1890s through last Tuesday. At 15 hours, it is nearly as epic an undertaking for the viewer as it must have been for director-writer-narrator Mark Cousins. Originally aired as a TV series in the UK, it played on the festival circuit as a five-part presentation. While the usual suspects are well-represented, Cousins’ choices for in-depth analysis are atypical (e.g. African and Middle-Eastern cinema).

That quirkiness is what I found most appealing about this idiosyncratic opus; world cinema (rightfully) gets equal time with Hollywood. The film is not without tics. Cousins’ oddly cadenced Irish brogue takes acclimation, and he tends to over-use the word “masterpiece”. Of course, he “left out” many directors and films I would have included. Nits aside, this is obviously a labor of love by someone who is sincerely passionate about film.

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The Stunt Man– “How tall was King Kong?” That’s the question posed by Eli Cross (Peter O’Toole), the larger-than-life director of the film-within-the-film in Richard Rush’s 1980 drama. Once you discover King Kong was but “3 foot, six inches tall”, it becomes clear that the fictional director’s query is actually code for a much bigger question: “What is reality?”

Ponder that as you take this wild ride through the Dream Factory. Because from the moment the protagonist, a fugitive on the run from the cops (Steve Railsback) tumbles ass over teakettle onto Mr. Cross’s set, where he is filming an arty WW I drama, his (and the audience’s) concept of what is real and what isn’t becomes hazy, to say the least.

O’Toole chews major scenery, ably supported by a cast that includes Barbara Hershey and Allen Garfield. Despite lukewarm reviews from critics upon original release, it has since gained status as a cult classic. This is a movie for people who love the movies.

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Sunset Boulevard– Leave it to that great ironist Billy Wilder to direct a film that garnered a Best Picture nomination from the very Hollywood studio system it so mercilessly skewers (however, you’ll note that they didn’t let him win…did they?). Gloria Swanson’s turn as a fading, high-maintenance movie queen mesmerizes, William Holden embodies the quintessential noir sap, and veteran scene-stealer Erich von Stroheim redefines the meaning of “droll” in this tragicomic journey down the Boulevard of Broken Dreams.

Previous posts with related themes:

Pre-Oscar marathon: Top 10 “Best Picture” winners

Beautiful losers: The Top 10 Oscar snubs

Top 10 Films of 2025

Jean Cocteau

Chain Reactions

Brats

Hey, Viktor!

Scala!!!

Only in Theaters

I Like Movies

The Last Film Show

Mank

Trumbo

Kubrick By Kubrick

Fassbinder: Love Without Demands

Douglas Sirk: Hope as in Despair

Dolemite is My Name

Life Itself

Hail, Caesar!

Inland Empire

Dirty Movies: A Top X List

Guild 45th: The Last Picture Show (essay)

More reviews at Den of Cinema

Dennis Hartley

It’s Called Imperialism

Or maybe the old-fashioned term: “conquest”

The NY Times calls it “destroy and deal.” But it’s nothing new.

Soon after President Trump joined Israel in launching a new war against Iran, an A.I. video featuring Secretary of State Marco Rubio circulated online.

Clad in a black turban and robe, he presides over an Iranian military parade, speaks at a mosque and gazes over the Tehran skyline. The caption: “Marco Rubio realizing he’s the new Supreme Leader of Iran.” Though intended as satire, the video crystallizes a pivotal moment for Mr. Rubio.

Throughout his long political career, Mr. Rubio has advocated toppling governments hostile to the United States. He was once considered so ideologically out of step with Mr. Trump that many officials and politicians doubted he would last a year in the administration. But today, Mr. Rubio is at the helm of Mr. Trump’s aggressive campaigns to reshape the governments of Iran, Venezuela, Cuba and beyond.

The U.S. president, who promised to end American wars, is now embracing the policies backed by Mr. Rubio and the secretary’s ideological compatriots, dismaying supporters who thought Mr. Trump had ushered in a new era of military restraint.

But Mr. Rubio is not trying to convert Mr. Trump to George W. Bush-era neoconservatism, which sought to remold other nations’ political systems, sometimes with military force, American officials and analysts say. Instead, he seems to be pursuing a new approach built on power free of principle. It is a merger of neoconservatism with Mr. Trump’s transactionalism, and it amounts to using U.S. military and economic power to turn authoritarian countries into client states.

It is regime compliance rather than regime change, a doctrine of destroy and deal.

Traditional neoconservatives saw promoting democracy and doing nation-building in the world as a moral good, even if it was done at gunpoint. And they viewed those as a means of transforming adversaries wholesale and extending American influence by spreading ideas. The Trump administration’s approach, so far, leaves internal politics to the rival nations as long as they show obeisance.

As long as they show obeisance.

Yeah, this kind of thing has been done since time began. It’s nothing new. It’s uncivilized and monumentally dangerous for us — and the rest of the world.

After WWII it was understood that psychopaths like Trump and Rubio could not be in charge of any civilized country, the United States included. After all, we are not the only country with world destroying nuclear weapons although we have more of them than anyone else. And because Trump is tearing up the existing world order with nothing but chaos and violence to replace it, there will be many more before long. The way things are going, the catastrophic decision to launch one will be aimed at us.

Mad King Strategy

I guess it could be worse. He could be reading entrails or something. But now that I think about it, the entrails would probably have better judgement.

Massive Corruption All The Way Down

Ivanka’s beloved Jared is making a killing:

Jared Kushner, one of the U.S. government’s chief negotiators in the Middle East, is trying to raise more money for his private equity firm from governments in the region. Mr. Kushner, President Trump’s son-in-law, has spoken with potential investors in recent weeks about raising $5 billion or more for Affinity Partners, his investment firm, according to five people with knowledge of the talks who were not permitted to speak publicly about the discussions.

As part of the fund-raising effort, Affinity’s representatives have already met with Saudi Arabia’s Public Investment Fund, which invests the proceeds of the kingdom’s vast oil reserves, two of the people briefed on the discussions said. PIF is led by Crown Prince Mohammed bin Salman, who has formed close ties with Mr. Kushner and the Trump administration.

PIF, which is already the largest and earliest investor in Affinity, invested $2 billion soon after the first Trump administration ended. As part of that deal, the Saudis must be given the first chance to invest during any subsequent attempts by Affinity to raise funds, the two people said. Other Middle Eastern sovereign wealth funds that invested earlier in Affinity, including those in the United Arab Emirates and Qatar, are also expected to be asked for more, the people said.

Mr. Kushner’s fund-raising is expected to stretch on for the better part of this year.

The chutzpah is overwhelming. We know how intimately involved he’s been with every foreign policy issue. And he’s been everywhere. One example:

In January, Mr. Kushner traveled to Davos, Switzerland, as part of the official U.S. delegation at the World Economic Forum, where he unveiled the Trump administration’s plan for a “New Gaza.”

While at Davos, Kushner also discussed his plans to raise billions in new investments for Affinity in private meetings with international business leaders, two people with knowledge of the conversations said.

As recently as December 2024, Mr. Kushner suggested that he would not seek more money for Affinity during Mr. Trump’s second term. That month, he told the podcaster Patrick O’Shaughnessy that he would “pre-emptively try to avoid any conflicts.”

“We don’t have to raise capital for the next four years,” Mr. Kushner added.

That appears to have changed. In materials provided to potential investors this year and reviewed by The New York Times, Affinity indicated that more than three-quarters of the roughly $5 billion it had raised since its founding had already been spent on investments in companies such as Phoenix Financial, an Israeli insurer, and Revolut, a financial technology start-up.

I wonder what Hunter Biden’s up to these days?

Priorities

We’re spending 2 billion a day on this war. At the same time:

Egg prices aren’t bad so it’s all good. But with the gas prices going through the roof, I’d guess the eggs will go up too. That’s how this usually works, anyway.

Meanwhile, we have a medical research system in free fall. The good news is that RFK Jr and some wellness influencers are ready to help us with great advice about how to be healthy by drinking beef tallow and using cod liver oil to cure measles. We’re going to be so healthy that we won’t even need vaccines because we’ll be impervious to all disease. So that’s good.

Carry on.

Pathological

Trump: "You know what else I thought about a long time before it happened? Osama bin Laden. I said, 'You have to go out and kill Osama bin Laden. He's big trouble. Kill him.' Nobody did anything. A year later he knocked down the World Trade Center. It was in a book. One of my many best sellers."

Aaron Rupar (@atrupar.com) 2026-03-13T19:18:25.878Z

Daniel Dale from last year:

President Donald Trump likes to portray himself as a visionary, someone who sees important things before others. Trump has been claiming for the last decade that in a book he published the year before the terrorist attacks of September 11, 2001, he warned the authorities that they needed to deal with Osama bin Laden

Trump’s claim is false. His 2000 book contained no warning at all about bin Laden. His tale about the book’s nonexistent warning was conclusively debunked in 2015. CNN published another debunking when he revived the tale in 2019.

But the president repeated it once again on Sunday – to a crowd of sailors celebrating the 250th birthday of the US Navy.

This time, Trump delivered the phony narrative after saying history wouldn’t forget how it was Navy Seals who killed bin Laden (in 2011 under then-President Barack Obama, a frequent target of Trump criticism). Trump added, in an apparent ad-lib, “And please remember, I wrote about Osama bin Laden exactly one year ago,” then corrected himself and said, “One year before he blew up the World Trade Center. And I said, ‘You’ve got to watch Osama bin Laden.’ And the fake news would never let me get away with that statement unless it was true.”

How many people in our country think this is normal now? Or this?

When Will Congress Get The Net?

Eugenics. Excursions. Shoe sizes.

Somebody take away President Dementia’s guys keys before he gets anyone else killed. He went on a genetics ramble about immigrants on Friday with “Fox & Friends” host Brian Kilmeade. He was commenting on recent terrorist attacks (The New Republic):

“There’s something wrong there. The genetics are not exactly your genetics, it’s one of those problems, Brian,” Trump said. “It’s a terrible thing, and it happens, it happens too often.”

Critics slammed Trump’s comment as blatantly racist and speculated that the president might admire more about Adolf Hitler than just his economic and political machinations.  

“Trump is an old school eugenicist nativist. He actually is fine with immigrants as long as they have the right ‘genes,’” David J. Bier, director of immigration for the Cato Institute, wrote on X. “This argument was the basis of the creation of the restrictive US immigration system 100 years ago.”

Trump on terrorists: "They're just bad. Something wrong. There's something wrong. Their genetics are not exactly your genetic. It's a terrible thing. And it happens. And it happens."

Aaron Rupar (@atrupar.com) 2026-03-13T17:31:16.892Z

“He’s a white supremacist. He doesn’t hide it,” posts Mehdi Hasan.

Worse. He’s the president of the United States, launching wars, and proudly killing people.

Everyone around him can see that grandpa has gone around the bend. No one has the guts to do anything about it. Or even to wear shoes that fit.

Drink up. It’s the weekend.

Rejoice! “Less good jobs.”

Our tech overlords decree it

Alex Karp (L), CEO of Palantir and Sam Altman (R), CEO of OpenAI. (both CC BY 2.0)

Palantir CEO Alex Karp spoke with CNBC on Thursday. On Iran, the Pentagon’s fight with Anthropic (over killer robots), and tech giants’ vision for America’s A.I.-fueled future.

Karp warns that the technology is incredibly disruptive to the economic and political lives of a large swath of mostly female and Democratic voters and transfer their power to vocationally trained, mostly male voters (quoted in The Ink):

The one thing that I think even now is underestimated by all actors in industry, including in Silicon Valley, is how disruptive these technologies are. If you are going to disrupt the economic and therefore political power significantly of one party space — highly educated, often female voters, who vote mostly Democrat — and military and working-class people who do not feel supported, and you feel like that… you believe that’s going to work out politically, you’re in an insane asylum.

You cannot… this technology disrupts humanities-trained — largely Democratic — voters, and makes their economic power less. And increases the economic power of vocationally trained, working-class, often male, working-class voters. And so these disruptions are gonna disrupt every aspect of our society. And to make this work, we have to come to an agreement of what it is we’re going to do with the technology; how are we gonna explain to people who are likely gonna have less good, and less interesting jobs from their perspective.

If Karp has ideas about how “we” come to such an agreement, he isn’t saying. These technologies are “dangerous societally,” Karp warns, and the only justification for the mass dislocation they bring that might sell politically is that if we don’t control them militarily our adversaries will. And that would threaten “our ability to be American. ”

While the technologies control friend and foe alike?

Palantir CEO Alex Karp: "This technology disrupts humanity's train, largely Democratic voters, and makes their economic power less, and increases the economic power of vocationally trained, working class, often male voters. These disruptions are going to disrupt every aspect of our society."

Aaron Rupar (@atrupar.com) 2026-03-12T13:33:54.354Z

 Meanwhile, OpenAI’s Sam Altman told BlackRock’s U.S. Infrastructure Summit on Wednesday that “One of the most important things in the future is that we make intelligence, to borrow an old phrase from the energy industry that didn’t quite work: ‘Too cheap to meter.’” But someone will, to be sure, and he/they will sell the sum of human intelligence (that the A.I.’s appropriated for free) back to you. That is, they’ll privatize knowledge like everything else.

What kind of world is that where intelligence become a utility? The Ink asks:

Maybe it’s the one that political scientists Stacie E. Goddard and Abraham Newman have described as “neoroyalism”: a post-everything world vision that Donald Trump and his oligarchic enablers seem to share, under which a new class of kingly rulers own everything and they extract their wealthe from the rest of humanity that simply rents, using whatever they make as they work piecemeal in gig employment. Or they’re warfighters, sacrificing for that kingly vision of nations, whoever’s “rule of law” they happen to fall under.

And subsidized and guaranteed by you, the nuevo poor taxpayer, suggests Gizmodo:

The way Altman is talking, suggesting that intelligence could be a utility, it’s hard not to recall previous comments from him and OpenAI CFO Sarah Friar calling on the federal government to essentially guarantee their investments. Friar said she expects a federal “backstop” to guarantee the company will be able to finance its massive and rapidly expanding data center infrastructure. Altman echoed the comments in a separate appearance, stating, “Given the magnitude of what I expect AI’s economic impact to look like, I do think the government ends up as the insurer of last resort.”

The execs later walked back the suggestion that the government treats them as “too big to fail,” but it seems like Altman is once again dabbling in that suggestion, albeit less directly. By suggesting intelligence as a “utility,” there is a tacit acknowledgement that it will need to be subsidized by the government, the way other utilities are. He’s just seemingly left out that particular part of his roadmap to the future.

All hail our new tech overlords!

Friday Night Soother

Big Kitten Edition

Bringing In The Boots

Apparently, Trump told the G7 leaders that Iran is about to surrender:

President Trump told G7 leaders in a virtual meeting Wednesday that Iran is “about to surrender,” according to three officials from G7 countries briefed on the contents of the call.

Why it matters: Trump is as confident about the war’s outcome in private as he is in public. But his assessment is colliding with a more complex reality on the ground.

Huzzah. But why would we be doing this if that’s the case? The Wall St. Journal reports:

The Pentagon is moving additional Marines and warships to the Middle East as Iran steps up its attacks on the Strait of Hormuz, according to three U.S. officials. Defense Secretary Pete Hegseth has approved a request from U.S. Central Command, responsible for American forces in the Middle East, for an element of an amphibious ready group and attached Marine expeditionary unit, typically consisting of several warships and 5,000 Marines and sailors, the officials said.

The Japan-based USS Tripoli and its attached Marines are now headed for the Middle East, two of the officials said. Marines are already in the Middle East supporting the Iran operation, the officials said.

The move comes as Iran’s attacks on the strait have paralyzed traffic through the strategic waterway, disrupting the global economy, driving up gas prices and posing a major military and political challenge for President Trump. A Pentagon spokesperson declined to comment.

He’s just saying whatever comes into his head believing that he can bend reality to his will as he has so many times before. I don’t think it’s going to work in this case but you never know.

The question is why he’d be sending this particular contingent to the Gulf. Guess:

An amphibious ready group and attached Marine expeditionary unit typically consist of several warships and 5,000 Marines and sailors. An earlier version of this post incorrectly said it typically consists of 5,000 Marines

Yeah. It’s not looking good.

Oh, and if they are deployed they will almost certainly be ordered to commit war crimes:

One of Pete Hegseth’s first actions after taking charge at the Pentagon was to fire top lawyers in the Army, Navy, and Air Force—senior officers who the defense secretary said functioned as “roadblocks” to the president’s orders. The former National Guardsman has a history of hostility toward military lawyers and the legal restraints they impose on the use of military might. They are known as judge advocates general. Hegseth calls them “jagoffs.”

This week, Hegseth proposed a “ruthless” overhaul of how the military’s thousands of lawyers in uniform, and their civilian counterparts, are organized, part of his campaign to move from, as he has called it, “tepid legality” to “maximum lethality.” JAGs serve a vital oversight function on issues such as whether drone strikes are aimed at legally justified targets and whether to prosecute adultery. “In some circumstances, the delivery of legal services across the Military Departments has become marked by duplication of effort, ambiguous lines of responsibility, uncertain reporting relationships, and inefficient allocation of legal resources that do not match the command’s priorities,” Hegseth said in a memo, which we reviewed, that announced the plans. He gave the military services 45 days to submit proposed changes to the way that they allocate legal responsibilities to their JAGs and civilian lawyers.

Hegseth couched the review in terms of efficiency and reducing waste and overlap. He said in a video released on the Department of Defense’s X account that JAGs in the future will be responsible for operational and military issues, including the laws of war and matters of criminal justice, and that civilian lawyers will handle more administrative work such as environmental and labor reviews and routine procurement.

But his plans have alarmed many current and former military lawyers, who see the bureaucratic justifications as cover for what they suspect Hegseth really wants to do: reduce the ranks of lawyers, purge internal dissent, and eliminate guardrails designed to restrict the military from carrying out legally dubious orders.

He’s doing this in the middle of a war. I don’t think we need to wonder why.