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    Where's the revolution?

    Nothing but a little Ping: Apple keynotes have become overhyped, Coldplay messes

    Fayza A. Elmostehi
    Sep 1, 2010 | 5:11 pm
    • The new touchscreen iPod nano is pretty cool. If you hang upside down often.
    • A skinnier iPod Touch that functions just like the iPhone 4? Whoa. You don'tsay. Gosh, that's revolutionary.
    • AppleTV is going to be a wonderful consumer flop the second time around, too!

    When we cyberhopefuls look back at the docket of how we spent our time today, we'll always want the 90 minutes between noon and 1:30 p.m. returned to us in their original condition.

    From puffery to buffoonery, Steve Jobs' keynote to the Apple faithful ushered in the first day of September with nail-biting anticipation. And we wish we'd kept the receipt for that wasted hour and a half of anxiety.

    While the biggest announcements are typically reserved for the year's early months, it's customary in the fall for Apple to debut its musical product prowess.

    Jobs didn't disappoint. Nor did he deliver.

    Sure, we're impressed with Apple's MPEG-4-mashin' success. Flashy new stores in Paris! Shanghai! London! 275 million iPods sold! Steve Jobs for Emperor in 2011!

    And yes, what iPhone owner wouldn't be kinda wowed by iOS 4.1, the latest release of the mobile operating system, touting high dynamic range photos that make your iPhone camera actually worth using?

    And what gamer on-the-go wouldn't get stoked about GameCenter's brilliant role-playing technology, which will most likely render your 12-year-old brother a virgin for life?

    Ahem. We don't salivate over software updates. We wanted something new, something thrilling. Something to text home about.

    And Jobs let us come up empty-palmed.

    You see, the hot shot musical ensemble at Apple has gone on a crash diet, resulting in tinier, skinnier iPods.

    The revamped iPod Touch will be, according to Jobs, "an iPhone without the iPhone," mirroring both the FaceTime and the rear and front-facing camera capabilities of the iPhone 4.

    The buttons on the colorful array of the screenless iPod Shuffle line have returned with a vengeance. Although voice recognition for playlists has been combined with VoiceOver song announcements, so being spoon-fed your music while on the go has never been easier.

    But if you do want your LCD, the iPod nano has your back, with the teeniest of touch color screens that'll even adapt to your orientation while upside down.

    'Cause when you're hanging from the rafters in your bat cave, it's imperative to know whether you're listening to Katy Perry or Ke$ha.

    And that's it for the iPod upgrades!

    But the expectations don't stop falling there.

    Remember the days when your every move wasn't interconnected with someone else's? Yeah, iTunes 9 remembers that, too. But iTunes 10 kicks your days of listener anonymity to the curb.

    Not only did Jobs decide it was time to "ditch the CD in the logo," but iTunes 10 is the biggest slap in the Facebook to Apple's trademark innovative spirit.

    Enter Ping, a platform hardwired into iTunes 10 that allows you to share all music-related activities with the people to whom you connect. Following artists, following friends, posting videos and photos, commenting, maintaining a profile — you know, that sort of thing.

    Sound familiar? We hope Jobs thanked His Royal Zuckness for that idea.

    The real snoozer of the bore-a-thon was, by far, Apple TV. Even Jobs admits that it hasn't been the greatest seller in the past, and yet, he dedicated a good half hour to his stump speech intending to convince us that we really, really must get Apple TV.

    People who own it love it! Never mind that no one really owns it! It's now one-fourth of the size and only $99! Play instant slideshows from your iPhone as soon as you walk in the door! Stream Netflix! YOU NEED THIS.

    Like a hole in the motherboard, you do.

    As if adding insult to injury wasn't enough, the entire shindig came to a CTRL+ALT+DELETE when Chris Martin of Coldplay shame — err, fame — took the stage. That's right.

    Oft-mocked moodster Martin, the obvious epitome of Apple's hip brand, was the talent to close out the event. Claiming the rest of the band was "too lazy" to appear, Martin slunk down in front of a piano and plucked the ivories as if the audience was a bunch of love-struck teenagers.

    Martin's saving grace with the technophilic set came from his genuine attempt to fit in with the geek-heavy group. "This is, uh, Coldplay 2.6, with seven new chords, featuring iMinor, designed by Johnny Ives."

    But even his cutesy quips couldn't save the day.

    Perhaps Apple has already out-wowed us too many times for us to be dazzled by smaller gadgets, touchscreens, and Facebook knockoffs.

    But if we have to wait 'til the spring to have our wireless mice double-clicked, so be it. 'Cause Apple ain't shown us nothin' today that we haven't seen already.

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    Movie Review

    Camp Miasma puts a comedic twist on the classic slasher movie

    Alex Bentley
    Aug 14, 2026 | 3:00 pm
    Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma
    Photo courtesy of MUBI
    Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma.

    The horror genre really ramped up in the 1970s and ‘80s, bringing the slasher subgenre that gave audiences new visuals of gore, but also a reliance on sexism and homophobia that would come to define the era. The new film Teenage Sex and Death at Camp Miasma wrestles with that legacy in ways that are funny, thought-provoking, and downright strange.

    Kris (Hannah Einbinder) is a queer filmmaker who has been hired to reboot the moldy IP that is the Camp Miasma franchise, one that was fresh in the 1970s but which numerous shlocky sequels have rendered irrelevant. In an attempt to get to know the property better, Kris has scored a meeting with the reclusive Billy (Gillian Anderson), the star of the original film who has shunned the public eye for decades.

    Turns out that Billy lives deep in the woods at Camp Rivoli, which served as the location for the first film. As Kris tries to get to know Billy and convince her to be a part of the new film, she starts to fall under Billy’s spell and the lore of the franchise as a whole. That includes believing that the movie’s villain, Little Death — a transgender person who has an air conditioning vent as a head/mask — may not just be a character created for the movies.

    Written and directed by Jane Schoenbrun (I Saw the TV Glow), the film at first feels like it’s going to go the straight-up comedy route, with comic explosions of blood, a strange fascination with candy brands, and a production design that does nothing to hide that the two main actors are on a movie set with painted backdrops. This is backed up by Kris’ phone conversations with her girlfriend, Mari (Jasmine Savoy Brown) and her agent (Sarah Sherman), as well as numerous other details.

    But the film starts to go down the surreal route the longer Kris stays at the camp with Billy, especially when they sit down to watch the original Camp Miasma. An extended sequence shows a good amount of that film-within-the-film, demonstrating why Kris and Billy have a love/hate relationship with the property. For Kris, though, the lines between the film and the real world start to blur, and Schoenbrun uses a variety of out-there elements to drive the point home.

    The final act of the film can barely be described as Kris goes deeper down the rabbit hole, with Schoenbrun using her film to comment on the horror genre as a whole, its treatment of women and LGBT people, the movie industry, and more. All the while the “camp” of Camp Miasma maintains a presence, with candy wrappers showing up everywhere and the tongue-in-cheek references to Little Death (the French term La petite mort, which means “the little death,” is a euphemism for orgasm).

    Einbinder, an Emmy winner for Hacks, is the perfect person to inhabit her role. Her established real-life and fictional personas color everything she does in the film, with her enthusiasm and curiosity shining through. Anderson leans heavily into another reference — Norma Desmond from Sunset Boulevard — to create a character that is as mysterious as she is alluring. Supporting actors like Brown, Sherman, Patrick Fischler, Dylan Baker, and Eva Victor keep the movie at the right pitch all the way through.

    While other films have made fun of horror movie tropes before, Teenage Sex and Death at Camp Miasma finds a wholly unique way of doing so. It’s a funny and daring trip into the psyches of two women who may be victims of their own obsessions, and of the movies that made them that way.

    ---

    Teenage Sex and Death at Camp Miasma is now playing in select theaters

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