Soviet-era animation inspired by Bradbury’s “There Will Fall Soft Rains”

If you’ve never watched 1980s Soviet-era animation, then this 10min Uzbek production from 1984, inspired by Bradbury’s “There Will Fall Soft Rains,” is a great place to start. Yes, it’s all like this, in my experience.

(Incidentally, I’ve always loved the poetry of Bradbury’s prose in general, and the opening line of this story in particular: “In the living room the voice-clock sang, Tick-tock, seven o’clock, time to get up, time to get up, seven o ‘clock! as if it were afraid that nobody would.” It’s like a super-sinister Goodnight Moon, a story that is itself already super sinister.)

Anyway, in case you’re wondering what New Year’s Eve 2026 will be like in America, here you go. Perfect for fans of Threads (1984), When the Wind Blows (1986), or whatever atomic holocaust shitstorm Putin kicks off next week.

Hold Up: Is that emblematic 1967 Armour hot dog commercial an homage to Ingmar Bergman’s classic film SEVENTH SEAL?

I mean, it’s weird that no one talks about the obvious visual similarities between the beginning of hot dog ad (top image) and the final image from Bergman’s Seventh Seal (bottom image), right?

The opening frame of the classic ’67 “Armour Hotdogs” ad
The final frame of Bergman’s Seventh Seal, often referred to as the “Dance of Death” by scholars

Are we to understand that the Armour hotdog ad takes placed in some purgatorial afterlife, where we are all condemned to revert to a childlike state of un-knowing and follow a sinister hot dog man, terrified and singing? ’cause that’s a dark, dark Easter Egg, folks.


And here’s the end of Bergman’s 1957 film, Seventh Seal:

I love that this was shot in Detroit…

…but hate that it’s yet another sci-fi film shot in the bizarro Detroit that’s mysteriously devoid of all Black people. WtF, dudes!  

Do you know how hard it is to find great Black actors for an SF movie in Detroit?  ZERO HARD! It’s a huge city, there are several solid acting programs at the various colleges and universities there, plus an additional 700,000 people.[*]

Also, not for nothing, but imagine how much more tightly on-theme this movie would have been if you highlighted race and consumption, rather than white-washing Detroit—THE BLACKEST CITY IN AMERICA:

[*] Yes, I saw that there were a couple Black ladies in the background of one shot. But, c’mon, dude, please. Incidentally, they weren’t even credited; i.e., they were probably just a pair of ladies that happened to be wandering around. 🙄

Re-watched WAKING LIFE last night

This movie was a Big Deal to us back when it came out in 2001, but it hasn’t necessarily aged well (“Oh, look, another annoying young white man talking,” my wife opined near the end).

That said, I was struck, over and over again, by how hopefully the movie is about now.

Even in its cynical moments, it’s hopeful about us—the humans of the future—in a way that feels like something midway between “charmingly quaint” and “astoundingly, nearly nauseously, naive.”

I want to be like the people in this film. I want to see us the way they were certain we’d be. I want to be as confident as they were that we’d at least be trying to be better tomorrow than we were yesterday.

Today is Summer Solstice. Quite literally, it gets darker from here.

Let’s try and be the people we always assumed we were, dee down inside.

WATCH ME: “8 1/2 Mile”


I basically 180-degree disagree with H. Perry H on the watchability of such a film—I would watch the shit out of this!—but love the opening graff of his post:

The internet is a Sarlacc pit of information: stuff goes in and it never comes out, the bodies just keep piling one atop another until they’re all digested into a sludge the individual elements of which are indistinguishable, it’s just a big, messy, congealed pile of videos, social media posts, other assorted viral moments, and mostly porn.

And I love the trailer itself: