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Most importantly, fashionably dressed Italian Prime Mogul Silvio Berlusconi, true to form, arrived at the G-20 completely “G’d up from the feet up.” Smooth teamwork is not the style of diplomacy the world is used to seeing at these meetings. After all, we’ve come to expect deadlock on the most important issues. The last G-20 summit ended with nothing but an agreement to meet again, and the Doha round of international trade talks was a joke...
Over the past few years, as the global political landscape has shifted beneath our feet, the emerging economies have found a voice, and American hegemony has receded into a form of influential leadership rather than outright dominance. Decision-making at the global level has been relatively non-existent. Although yesterday’s summit registered no seismic shift toward solidarity and probably nowhere near the number of institutional reforms needed to solve long-term problems, it at least made a strong tremor of cooperation on the geopolitical Richter scale...
...much work to be done to change the economic order that brought about the catastrophe in the first place. The upgrade of the Financial Stability Forum to a Financial Stability Board is a huge step. Investment bankers and derivative traders are getting what’s coming in the form of regulated pay and bonuses. Hedge funds will have to disclose their leverage levels to regulators. But deep structural changes in other international financial institutions must occur soon. It’s great that the IMF received funds to aid struggling developing countries, but part of the reason those countries...
...couple pleasant but unmemorable diversions: an album of instrumentals called “Seaside Rock” and frontman Peter Morén’s surprisingly vapid solo debut “The Last Tycoon.” In January, the band’s return-to-form was announced by none other than Kanye, who introduced the first single from PB&J’s fifth studio album, “Living Thing,” on his blog. The bumptious auteur gloated, “THEY SENT THE SONG TO ME FIRST!” and went...
...contemporary film making, the short film has come to symbolize a bookending of sorts for the career of a successful director. The short film is the cheapest and most consumable form of creative output that an aspiring director can produce—an opportunity for young filmmakers to play to their strengths and capture the imagination of the gatekeepers between themselves and their first feature-length films. It’s also the medium to which auteurs have the luxury to return after a career of successful feature films—an opportunity, perhaps, to experiment with scripts and styles...