“In the Star Trek prequel, Spock’s father tells him, ‘You will always be a child of two worlds,’ urging him not to keep such a tight vise on his emotions. Mr. Obama is also a control freak who learned to temper, if not purge, all emotion. But as a young man of mixed blood, he was more adept than Young Spock at learning to adjust his two sides to charm both worlds, and to balance his cerebral air with his talent for evoking intense emotion.

“Just as President Spock pledged to make hope and government cool again, JJ Abrams said he wanted his movie to make optimism cool again. Commanding his own unwieldy starship of blended species, with Cheney, Limbaugh and other pitiless Borg aliens firing phasers from all sides, Mr. Obama has certainly invoked Mr. Spock’s Vulcan philosophy of ‘Infinite diversity in infinite combinations.'” — from Maureen Dowd‘s 5.10 Sunday column, titled “Put Aside Logic.”

“Currently, more than 60 percent of U.S. Twitter users fail to return the following month,” wrote David Martin, vp primary research for Nielsen Online, on 4.28. “In other words, Twitter’s audience retention rate, or the percentage of a given month’s users who come back the following month, is currently about 40 percent. For most of the past 12 months, Twitter has languished below 30 percent retention.”

In short, a majority of users are finding that the lustre of Twitter fades after a period. That it’s a bit of an OCD pain in the ass. That it’s one more digital-electronic circle-jerk distraction that gets in the way and in a longterm way blocks out the sunlight.

“A high retention rate doesn’t guarantee a massive audience, but it is a prerequisite,” Marting goes on. “There simply aren’t enough new users to make up for defecting ones after a certain point. [The above chart] indicates that a retention rate of 40 percent will limit a site’s growth to about a 10 percent reach figure.

“When Facebook and MySpace were emerging networks like Twitter is now, their retention rates were twice as high. When they went through their explosive growth phases, that retention only went up, and both sit at nearly 70 percent today.

“Twitter has enjoyed a nice ride over the last few months, but it will not be able to sustain its meteoric rise without establishing a higher level of user loyalty.”

“A government without newspapers is not an option for America, ” President Obama said last night at the White House Correspondents’ dinner. “We count on you to help us make sense of a complex world [and] we look to you for truth, even if it’s always an approximation. This is the season of renewal and reinvention, which is what journalism is in the process of doing. It’s not short on talent or creativity or passion or creativity or commitment…qualities that certainly prove that journalism’s problems are worth solving.”

“The real question,” N.Y. Times columnist Frank Rich wrote this morning, “is for the public, not journalists: Does it want to pony up for news, whatever the media that prevail?

“It’s all a matter of priorities. Not long ago, we laughed at the idea of pay TV. Free television was considered an inalienable American right (as long as it was paid for by advertisers). Then cable and satellite became the national standard.

“By all means let’s mock the old mainstream media as they preen and party on in a Washington ballroom. Let’s deplore the tabloid journalism that, like the cockroach, will always be with us. But if a comprehensive array of real news is to be part of the picture as well, the time will soon arrive for us to put up or shut up.

“Whatever shape journalism ultimately takes in America, make no mistake that in the end we will get what we pay for.”

The Three Days of the Condor Bluray arrives Monday morning, two or three hours before I leave for Kennedy airport. Just barely time to pop it in and watch most of it. It’s probably not going to be visually stunning, but it’ll certainly look “better” than anything that’s come before. I love David Rayfiel‘s dialogue, and I’m telling myself, however illogically, that the sharper visuals will somehow make it sound a tad better. The speakers are Robert Redford, Faye Dunaway, Max Von Sydow, Cliff Robertson and John Houseman.

Kathy: You…you have a lot of very fine qualities.

Joe Turner: What fine qualities?

Kathy: You have good eyes. Not kind, but they don’t lie, and they don’t look away much, and they don’t miss anything. I could use eyes like that.

Joe Turner: But you’re overdue in Vermont. Is he a tough guy?

Kathy: He’s pretty tough.

Joe Turner: What will he do?

Kathy: Understand, probably.

Joe Turner: Boy. That is tough.

And….

Higgins: Do you miss that kind of action, sir? [referring to joining and working for the CIA during World War II]

Mr. Wabash: No, I miss that kind of clarity.

“Kehr, Dave. Third- or possibly even fourth-string New York Times movie critic. Though often relegated to reviewing DVD releases, he is preferred by Snobs over A. O. Scott, Manohla Dargis and Stephen Holden.” — 2005 passage from The Film Snob’s Dictionary. Does Kehr still enjoy said status?

I’ve assembled my four favorite passages from Anthony Lane‘s 5.18 New Yorker review. He follows Variety‘s Todd McCarthy and myself by taking note of James Tiberius Kirk’s mood hair (i.e., veering from dirty blond to blondish red). It’s not a pan, and I wouldn’t agree if it were. But it’s great succulent stuff — the best Lane reviews always are.

Excerpt #1: “This new Star Trek is nonsense, no question (‘Prepare the red matter!’), but at least it’s not boggy nonsense, the way most of the other movies were, and it powers along, unheeding of its own absurdity, with a drive and a confidence that the producers of the original TV series might have smiled upon.”

Excerpt #2: Kirk “is played here by Chris Pine, who struggles with a screenplay, written by Roberto Orci and Alex Kurtzman, that could have been downloaded from a software program entitled ‘Make Your Own Annoying Rebel.’ I thoroughly approved of his bedding an extraterrestrial female with green skin, eco-sex being all the rage two centuries from now, but that is the only downtime afforded by the recklessly rolling plot, although Jim still manages to defy the continuity team and switch hair color from dirty blond to redhead and back again. Don’t worry, he’s still a natural dickhead underneath.”

Excerpt #3: JJ Abrams’s “fondness for the retro is crucial to his non-stop knowingness, with its hints of both hipster and nerd. He gorges on cinema as if it were one of those all-you-can-eat buffets, piling his plate with succulent effects, whether they go together or not. Hence the red ravening beast that pops up on a random planet, clearly left over from the props cupboard of Cloverfield; the man-to-Romulan fistfight borrowed from M:i:3; and, I regret to say, a dose of parallel universe.”

Excerpt #4: “This theme of alternative reality is clumsily worked, and not a patch on its tighter, more alluring, and thus much scarier treatment in Coraline. Its effect here is to saddle us with two Mr. Spocks, one from the vulnerable present and one from the comforting future, and its main purpose, I suspect, is to drag in Leonard Nimoy, who these days makes Bela Lugosi look like Zac Efron, and thus insure that all the Star Trek scholars in the audience will have to hurry home and change their underwear.”

I’m presuming, naturally, that several HE regulars were among last night’s Star Trek viewers, and that given the 96% positive Rotten Tomatoes rating some are focusing on aspects of the film they weren’t entirely satisfied with. Because it’s more fun to be contrarian. Not to dump on the film (which I liked), but that’s where the percolation is right now.

You might want to read Anthony Lane‘s New Yorker review as a starting-off thing. Ignore it, debate it or join the praisers but please add something specific. Comments that just say “I liked it” or “it sucked” will be immediately deleted.

It took in $26 million yesterday for a cume of $33 million if you count Thursday night, which of course you must. Steve Mason says it could hit $75 to $77 million by Sunday night and bank over $200 million by the end of the run.

Here’s a public shout-out for Santa Barbara Film festival chief Roger Durling and all his regional friends and colleagues, hoping that they’re not feeling too freaked out and that their homes are still standing as they stare at those massive Armageddon fire clouds caused by the Jesusita inferno, which has been raging for four days now. Sea valiente, sea fuerte y confianza en dios.

“Fire officials have more than doubled their estimate of how many acres have burned in the Jesusita wildfire [that’s been] raging along mountain slopes above Santa Barbara,” says an AP story that was filed around midnight.

“The Department of Forestry and Fire Protection says new aircraft tracking shows the fire has burned 8,600 acres. Earlier on Friday, officials estimated the 4-day-old blaze had burned 3,500 acres. Fire spokesman Dennis Mathisen says the [previous] smaller estimate was based on firefighters surveying the blaze at night from the ground. The new acreage count was taken by aircraft during the day.”

Here are some relatively recent reports from the Santa Barbara News Press.

Some 13,500 people have either evacuated or been asked to evacuate so far. Some 5400 homes have been “engulfed,” according to a CNN summary. (I don’t think “engulfed” means burned to the ground.) The wind-driven inferno has been described as “uncontrolled.” Well, obviously.

New Yorker photograph by Charles Minsky

There’s a well-observed piece by Lila Byock on the New Yorker site, called “American Pompeii.”

“I had thoughts of Pompeii just now, looking at an abandoned car dealer’s lot, as ash poured down. Everything was deserted, except for people fleeing towards the freeway. Ash pouring, pouring down, hurting the eyes.

“We just snuck back into the evac zones to get more stuff from Tonya’s place. We were safe the whole time, but fire is right over the hill — ALL over the ridge — and this stretch of the city where Tonya lives, where we have sushi and coffee sometimes, is blocked off by cop cars and barriers, utterly black, thousands of homes empty and evacuated. A sky so totally black and ash-covered that you’d think there’s a volcano blowing up. It’s still about 100 degrees here and we’re breathing people’s cars and houses right now.”

The collapsing Eiffel Tower scene starts to make it, almost makes it…and then doesn’t. That green metal-melting effect is crap, and they don’t show the tower crashing full force into the bridge. (They cut just as it hits.) It generally looks a little too CG. Sorry, guys.