Content Warnings have Gone Too Far

Content warnings used to be useful. It’s helpful to know when there’s going to be mature language, excessive violence, sex, and the use of fog, strobes, and cigarettes. I’m mixed about warnings of gunshots, since that’s a spoiler, but understandable, given gun violence in the US. These are reasonable warnings to help decide whether someone is old enough to see something or whether they want to be exposed to possible health risks.

However, they’ve lately turned increasingly ridiculous. USC’s School of Dramatic Arts added warnings to everything, which range from dumb to truly infantilizing:

The Importance of Being Earnest, Much Ado About Nothing: “Please be advised this production contains outdated expectations of gender roles and classist statements.” (Screenshot, 2)

Twelve Angry Jurors: “Please note that this production includes adult language and themes.” (Screenshot) Fine, but unnecessary. The description is pretty clear on what the show contains.

Richard III: “Please be advised that this production contains adult themes and language, including ableist language and attitudes, as well as depictions of violence and manipulation.” (Screenshot) So many of these warnings are moralizing dictates on how to think. I’m sick of it.

Rent: “Please note, this production contains adult language and themes, depictions of homophobia, substance abuse and addiction, death and housing vulnerability.” (Screenshot) Who would have guessed that in a musical called Rent, people would be worried about losing their homes? When this first came out, all these “triggers” were why it became popular. It even became a very funny scene in Team America (2004).

Chavez Ravine: An L.A. Ghost Story: “Please be advised, this production contains adult language and themes, police brutality, housing vulnerability, depictions of classism, white supremacy and child abuse.” (Screenshot) From this warning, you’d think it’s a dour experience. I saw the authors perform this at the Kirk Douglas Theatre, and it’s nowhere near the downer USC suggests. The content warning from Center Theatre Group? A concise and spoiler-free “Recommended for audiences ages 16+. Children 6 and under who may cry or fidget are never admitted.” (Screenshot)

Assassins: “Please be advised that this production most likely contains discriminatory language, and depictions of gun violence, death and suicide.” (Screenshot) “Most likely??” Who is writing this garbage? At least have the decency to read the work in question. There are even full bootlegs on YouTube!

New Works Festival: “Please note, these productions are a work in progress, thus they may or may not contain undefined triggering content, images and/or sounds.” (Screenshot, 2, 3) Way to go, further trivializing the word “trigger.”

Nicholas Nickleby, Myths and Hymns, Caught: “Please be advised that this production may contain triggering content.” (Screenshot, 2, 3)

Useless.

Meanwhile, a few miles away at REDCAT…

The Nosebleed: “The Nosebleed contains loud sounds, the depiction of a nosebleed, estrangement with a parent, mentions of death, use of profanity, microaggressions, and mentions of sexual harassment.” (Screenshot) I was kind of interested in seeing this. The description makes it sound worthwhile, but the warning makes me think, “Why bother?”

Magdalene: “Magdalene contains nudity and mature content.” (Screenshot) A good warning that tells me what I need to know. I can read the description and infer further whether it’s appropriate for me.

The more comprehensive and spoiler-ridden content warnings become, the more I’m reminded of the crying scene in Fahrenheit 451 (1966).

The Spanish Dancer (Milestone)

Good grain, natural stabilization, nice grading, few noticeable processing artifacts. Overall good presentation of The Spanish Dancer (1923).

Clipped directly from the M2TS.

Alas, it has some errors.

Quick-reverse:

Quick-reverse on the left, fixed on the right. Both sides corrected to 60fps.

Mindless spot repair:

The full shot also combines frozen temporal cloning and quick-reversing, mostly on the left side. There’s still so much damage. They should’ve left it alone.

Quick-reversing, frozen temporal cloning, and workflow errors. Clipped directly from the M2TS.

Editing error at 47m43s, where eight frames repeat:

Editing error, followed by fixed version. Corrected to 60fps.

Bill Ware’s music is wonderful. It includes a light touch of sound effects, too, but…does every door have to squeak?

The Spanish Dancer is transferred at 18fps and encoded at 24fps with an uneven pulldown. Frequently, a frame gets repeated twice.

The Little Mermaid (1989)

Yesterday, the Academy Museum ran an original print of The Little Mermaid (1989). A very rare treat. I think the last time it ran in 35mm in Los Angeles was about 20 years ago at LACMA.

A few things struck me. It is VERY grainy and much of the movie has a haze over it, sometimes quite strong. Even the end credits—the blue lettering bloomed into the black.

Most surprising to me was that Ariel’s hair is red-orange, not red. It had been so long since I last saw the movie that I had come to think it was red.

There’s a nice comparison here, comparing the new UHD to the previous BD. In every instance, the UHD color is too saturated and seriously goosed. The BD more closely looks like the print I just saw. The colors were vibrant for the time, but duller than we’re used to seeing nowadays.

Mother / The End of St. Petersburg (Flicker Alley)

Flicker Alley’s presentation of Mother (1926) is a bit of a throwback to when silents were released on home video with whatever print the distributor happened to own. Nowadays, with so many movies getting processed to death, it’s jarring to see a major silent presented as-is from a well-worn print. Still, the transfer is nice. Natural grain, no major compression issues, and most importantly, no restoration artifacts.

Clipped directly from the BD.

As you can see, it’s rough, but it’s nicely encoded. I suppose it could be processed with new grading and stabilization, but it’s so easy to be heavy-handed, that I think I’d prefer this. Besides, it’s clearly not first-generation material, so what’s the point?

The End of St. Petersburg (1927), also well-worn, derives from Mosfilm’s 1969 restoration. It runs at a variable frame rate, primarily 24fps (most of the time) and 18fps, step-printed in 1969. I wonder about the accuracy of this. 18fps makes sense for slower scenes in the first half, but the dips in speed are drastic and inconsistently applied as the action and editing get faster in the climax.

FA’s transfer has further stretching that results in random single frames being duplicated, mostly in the second half. Many of these are easy to miss amid the frantic action. However, it’s another nice encode.

Clipped directly from the BD.

When Mosfilm step-printed in 1969, they introduced a lot of debris. You can see this when frames get repeated; you end up with the same image getting completely different layers of dirt and different exposures. They also introduced gate weaving and occasional out-of-focus frames (at splices). By undoing their step-printing, we can get non-destructive repair:

Left: 1969 step-printing. Right: Step-printing removed and corrected to 60fps.

The difference is slight, but the right side is a little cleaner and gate weave is more natural and less…slippery. It may not be noticeable in this short clip, but over the course of the movie, and on a big screen, the 1969 step-printing defects are visible.

I am very curious what original material actually exists and its condition. Alas, Ukraine. Oh, well…

Mother is transferred at 20fps and encoded at 24fps. The End of St. Petersburg is transferred with a variable frame rate, 8-24fps, and encoded at 24fps.

Abraham Lincoln (1930, Kino)

Overall, very nice picture quality. Good grain, looks natural.

Clipped directly from the BD.

However, the 2.0 LPCM sound decodes as surround, not mono. It’s easy to fix, but something that should’ve been caught before the disc was released.

The restoration was also pretty good. I wasn’t noticing any obvious processing artifacts, until, at 1h24m:

Clipped directly from the BD.

Sloppy, 3-frame, quick-reversed, misaligned changeover cue removal (but only one of them). I don’t get the hatred for changeover cues. You’d see them if you went to a screening of a print. They are authentic and accurate. If all that exists has cues, then that’s okay. Leave them alone, especially when the retouching isn’t flawless and invisible.

This was the only restoration artifact I noticed. I’m sure there were more, but they didn’t stick out like this one.

The improper surround sound, though, was a serious error.