“Working in the White House on a Saturday afternoon had become routine for Zeke Emanuel and Bob Kocher,” Steven Brill tells us at the beginning of Chapter 9 of his ambitious new history of the Affordable Care Act, “America’s Bitter Pill” (Random House):

But they were usually able to leave at a decent hour. However, at 5 p.m. on Saturday, April 25, 2009, they were thrown into a state of near-panic. Emanuel, Kocher, and the rest of the staff from the Office of Management and Budget and the National Economic Council had been blindsided by the domestic policy crew.

At issue was a briefing paper written by the head of the White House health-care-reform effort, Nancy-Ann DeParle. It was early in the planning stages for Obamacare, and DeParle’s memo was a three-thousand-word document, in which she made the political case for a broad expansion of coverage. Kocher and Emanuel were taken aback. They were worried about the cost of the bill. The memo was supposed to go to the President at eight o’clock that night, which gave them just three hours to respond. “Any hopes for an early departure that Saturday evening were gone,” Brill writes.

By this point in the narrative, the reader is well acquainted with the cast of characters. DeParle was “a Rhodes scholar and graduate of Harvard Law School . . . a seasoned manager and savvy infighter when she had to be,” with a background in private equity. Kocher, a “Harvard-trained internist,” late of McKinsey, was “a walking encyclopedia of healthcare markets data who had an uncanny ability to turn it all into eye-opening PowerPoint presentations illustrating the dysfunction of the American system.” Emanuel was the “brashest” and most “academically credentialed of the trio of brilliant Emanuel brothers,” took “edgy” positions, and had an “MD and a PhD (in political philosophy) from Harvard, a master’s from Oxford, and a position teaching oncology at the Dana-Farber Cancer Institute in Boston.” He had “brains, cunning and [a] biting persona,” and was “ready, willing and able to layer it with the self-righteousness of a guy who treated cancer patients.” The two worked with Lawrence Summers—the “celebrated Harvard economics professor” and former Harvard president—and Peter Orszag, the whiz kid out of the Congressional Budget Office by way of Princeton and the London School of Economics. Brill, a graduate of Yale and Yale Law School, tends to specify the Ivy League credentials of his protagonists up front, with the result that his book sometimes reads like the class-notes section of an alumni bulletin. Barack Obama, we are reminded, is “the former Harvard Law Review president.” Jonathan Gruber, who was a Ph.D. student of Larry Summers at Harvard, was “an outgoing guy who had the intellectual chops of an Ivy League academic without the withdrawn personality.” And so on.

So there they were, Kocher of Harvard and Emanuel of Harvard blindsided by DeParle of Harvard. The evening became a blur. The two men tried desperately to alter the language of the briefing paper. But they were blocked by DeParle and her colleague Jeanne Lambrew—the “highly respected policy wonk,” who, at one of the first major congressional health-care summits, had “pushed back on the notion that the private sector could always be the answer.” The best they could do was alter a few words and phrases. Round One to DeParle.

For six pages, Brill painstakingly carries the story forward. Key phrases of the memo are parsed, their implications interrogated. “These options have been presented to your senior staff, and we have developed a package that could plausibly offset the cost of reform,” DeParle wrote. But the pronoun “we,” Brill argues, was ambiguous: it included her team but not the economic team. And could one side of the White House policy staff formulate a “package” without the other side? The directive from the Oval Office was clear. “Don’t bring us your problems,” Valerie Jarrett, the President’s gatekeeper, was known to say. “Bring us your solutions.” From that Saturday evening through the following Thursday, the two sides battled. Then came the showdown:

On April 30, 2009, a large group gathered with the president in the Roosevelt Room to review a PowerPoint about health-care reform. This was the meeting that DeParle’s April 25 memo had been meant to prepare the president for. But this time, the PowerPoint had been prepared jointly by the economic team and DeParle’s healthcare policy people. Peter Orszag and Larry Summers had insisted on that. In fact, Kocher, who prided himself on his McKinsey-bred PowerPoint skills, controlled the document.

Kocher controlled the document.

Near-history, the journalistic reconstruction of contemporary events, has come to be dominated by two schools. The first is represented by Michael Lewis. Lewis wrote about the 1996 Presidential election through the story of a Republican candidate no one had ever heard of, the eccentric millionaire Morry Taylor. “The Big Short” was an account of the financial crisis told through the eyes of four obscure short-sellers. Lewis’s interest is psychological and moral. His books have won him many admirers (including me) because they offer deceptively simple narratives in the service of a grand canonical theme. “Liar’s Poker,” which recounts the young Lewis’s stint in the Wall Street of the nineteen-eighties, is Daniel in the lion’s den. “Money Ball,” about the strategies of small-market baseball teams, is David and Goliath. “The Blind Side” is the Good Samaritan. “The Big Short” is Noah’s Ark, and “Flash Boys” is Jesus casting the money changers out of the temple.

The second school is associated with the Washington Post reporter Bob Woodward. Woodwardian history is kaleidoscopic. The reporter makes many telephone calls and office visits, and reads many documents. All key players are represented and events detailed. The approach is sociological: the great theme of the Woodward school is the interaction of institutions and vested interests. In a Lewis, if you remove the titles of the characters and simply identify them by their first names, nothing is lost: an individual’s character, not his position, is what matters. In a Woodward, the opposite is often true. Names may be irrelevant; titles tell you what you need to know. That is what makes Woodward and Carl Bernstein’s “All the President’s Men” a masterpiece: its great achievement was to show how the institutional power of the White House led to the President’s personal corruption. The Lewis brings drama to what we thought was prosaic. But when the underlying subject is inherently dramatic, and when the heart of the story lies behind doors that only dogged reporting can unlock, the Woodward is what we need. You don’t want Michael Lewis on Watergate. He’d get distracted by Rose Mary Woods and would never make it into the Oval Office.

“America’s Bitter Pill” is Brill’s attempt at a Woodward. The book is wrapped in the presumption of controversy: reviewers who received early copies had to sign a nondisclosure agreement. The reporting is exhaustive. Brill tells us that he interviewed “243 people—many of them multiple times—over twenty-seven months.” When Brill informs us that Valerie Jarrett likes to use the common managerial adage “Don’t bring us your problems; bring us your solutions,” he states that his source for this fact is the testimony of “three senior members of Obama’s staff.” Next comes a footnote:

Although Jarrett declined comment, assistant press secretary Eric Schultz denied this account offered by these senior Obama advisers, saying, “Valerie doesn’t use this phrase and regularly reminds our staff that the president and our senior team don’t like surprises, to further encourage staff to bring to their attention both problems and solutions.”

Then, in an appendix, Brill presents the text of questions that he submitted to Obama, including:

I am told by five people who have served in senior capacities in the Administration that Ms. Jarrett often told them that “the President wants you to bring us your solutions, not your problems.” . . . I feel compelled to ask you to comment on that.

Note how the three sources he interviewed in the text have now grown to five. Between the writing of the main text and the completion of the appendix, apparently in the belief that he had not fully explored the issue of Jarrett’s directive, Brill kept on going, enlisting one senior Administration official after another—up to and including the President—in his quest to resolve the Solutions vs. Solutions and Problems conundrum. Brill wants to take us behind the locked door.

“America’s Bitter Pill” consists of a series of parallel stories. Brill gives us case studies of Americans whose lives have been devastated by outrageous medical bills. He describes the launch of Obamacare in Kentucky; the early days of Oscar, a health-insurance startup in New York City; and his own terrifying experience with a life-threatening aortic aneurysm. Each of these stories orbits his central narrative, “the roller-coaster story of how Obamacare happened, what it means, what it will fix, what it won’t fix, and what it means to people.”

Brill’s intention is to point out how and why Obamacare fell short of true reform. It did heroic work in broadening coverage and redistributing wealth from the haves to the have-nots. But, Brill says, it didn’t really restrain costs. It left incentives fundamentally misaligned. We needed major surgery. What we got was a Band-Aid.

One of Brill’s examples is drug prices. While he was working on his book, he writes, “a drug called Sovaldi burst onto the scene.” Sovaldi is used for hepatitis C, and its manufacturer, Gilead Sciences, has priced it at a thousand dollars per pill—which comes out to eighty-four thousand dollars for a course of treatment. Brill quotes Sarah Kliff, who writes on health-care policy, pointing out that California might well end up spending more on Sovaldi for its Medicaid patients than it does on all K-12 and higher education. “The exact price Gilead chose for Sovaldi said something in and of itself about the nonexistent regulatory environment drug companies knew they faced in the United States,” he writes. “Rather than set the price at, say, $989 or $1,021—at least to create the impression that it was based on some calculation other than ‘Let’s charge whatever we want’—the company had chosen a simple round number, $1,000.”

How can we have a solution to the health-care crisis without making any attempt to curb runaway drug prices? Medicare isn’t even allowed to negotiate directly with drug companies. “Should we be embarrassed and maybe even enraged that the only way our country’s leaders in Washington could reform healthcare was by making backroom deals with all the interests who wanted to make sure that reform didn’t interfere with their profiteering?” Brill writes, in a section structured around a series of italicized questions. “Of course. We’ll be paying the bill for that forever.”

Brill devotes fifty pages to another Obamacare shortcoming, the early malfunctioning of the Web site. He originally thought that the site would be a showcase for what government could do. But, on the train back from his initial round of interviews in Washington, he glanced at his notes and realized that he had been given seven different answers to the question of who was in charge of the launch of the federal exchange, including an “incomprehensible” organizational chart with four diagonal lines crossing one another and forming a “lopsided” triangle:

Should we be amazed, and disappointed, at how Obama treated the nitty-gritty details of implementing the law as if actually governing was below the pay grade of Ivy League visionaries?

Absolutely. This failure to govern will stand as one of the great unforced disappointments of the Obama years.

At the end of “America’s Bitter Pill,” Brill offers his own solution to the health-care crisis. He wants the big regional health-care systems that dominate many metropolitan areas to expand their reach and to assume the function of insuring patients as well. He talks to Jeffrey Romoff, the C.E.O. of the University of Pittsburgh Medical Center, who is about to try this idea in the Pittsburgh area, and becomes convinced that the same model would work throughout the country. “The [hospital’s] insurance company would not only have every incentive to control the doctors’ and hospitals’ costs, but also the means to do so,” he writes. “It would be under the same roof, controlled by Romoff. Conversely, the hospitals and doctors would have no incentive to inflate costs or over-treat, because their ultimate boss, Romoff, would be getting the bill when those extra costs hit his insurance company.”

Cartoon
“It’s mostly sweater weight.”

Brill talks through his idea with several other prominent health-care-system C.E.O.s (“doctor-leaders,” he calls them), whose résumés are helpfully elaborated: “Glenn Steele, Jr., a former cancer surgeon and professor at Harvard Medical School,” and Gary Gottlieb, the head of a Boston group “formed by the merger of the area’s two most highly reputed hospital brands, both of which were affiliated with Harvard Medical School.” A system like this, Brill estimates, based on a few back-of-the-envelope calculations, could slice twenty per cent off the private-sector health-care bill.

It’s at moments like this that Brill’s book becomes problematic. The idea he is describing is called integrated managed care. It has been around for more than half a century—most notably in the form of the Kaiser Permanente Group. Almost ten million Americans are insured through Kaiser, treated by Kaiser doctors, and admitted to Kaiser hospitals. Yet Brill has almost nothing to say about Kaiser, aside from a brief, dismissive mention. It’s as if someone were to write a book about how America really needs a high-end electric-car company that sells its products online without being the least curious about Tesla Motors.

In a Lewis, this wouldn’t matter so much. “Flash Boys” was criticized by some on Wall Street for mischaracterizing the world of high-frequency trading. But “Flash Boys” explicitly set out to tell its story through the eyes of a renegade trader named Bradley Katsuyama, and the test of the book’s success was whether it captured Katsuyama’s view of high-frequency trading. In a Woodward, the goal is different. A book like Mark Bowden’s “Black Hawk Down”—a Woodward that outdoes even Woodward—sets out to describe things as they actually happened, not things as filtered through one person’s idiosyncratic perspective. The currency of the Lewis is empathy. The currency of the Woodward is mastery—and nothing is more corrosive to the form than the suspicion that the author doesn’t grasp the full picture.

Does the botched launch of the Web site deserve fifty pages? Maybe so. This certainly was something that felt significant at the time. But what we want to know is how much it ultimately mattered, and there is little in Brill’s reporting that sheds light on that question. The Administration built a Web site in order to give Americans access to one of the most complex pieces of legislation in history. The site had lots of bugs, in the beginning, as complicated pieces of software often do. Then the Administration fixed the bugs quickly, and the response was such that the Affordable Care Act reached its enrollment targets. “I was, like, never worried,” Brill quotes Mickey Dickerson, an expert from Google whom the Administration brought in to get the Web site on track, as saying. “It’s just a website. We’re not going to the moon.” Brill wants the Web-site saga to stand for something larger, but in the end what it seems to stand for is the fact that Web sites, in the beginning, sometimes crash a lot.

The Sovaldi example is equally puzzling. A thousand dollars for a pill sounds like a lot of money. But hepatitis C is a costly disease. It’s the leading reason for liver transplants, which are among the most expensive of all medical procedures. A 2013 study published in the journal Hepatology estimated the lifetime health-care costs of the average hepatitis-C patient (when medical inflation was factored in) at more than two hundred thousand dollars. The drug regimens that came before Sovaldi didn’t work very well and had terrible side effects. Brill quotes Sarah Kliff on how much the drug will cost the state of California, but what he doesn’t mention is that Kliff followed up on her initial analysis with another that was headlined, above a picture of Sovaldi capsules, “EACH OF THESE HEPATITIS C PILLS COSTS $1,000. THAT’S ACTUALLY A GREAT DEAL.

The problem with the pharmaceutical industry is not that it makes too many drugs like Sovaldi. It’s that it makes too many drugs that aren’t like Sovaldi, drugs whose costs vastly outstrip their benefits: cancer treatments that cost tens of thousands of dollars and extend life only minimally, or expensive me-too drugs that perform no better than cheap generics. We certainly need to be smarter about the drugs we use, and Medicare should be relieved of the congressionally mandated restrictions that make it impossible to bargain directly with drug companies. But Sovaldi targets a painful and costly disease with a substantially cheaper, safer, and more effective one-time cure. This is what we want drug companies to do. Of all the examples that Brill could have used to bolster his argument, why did he pick that one?

On May 2, 2009, Brill writes, the domestic-policy group at the White House blindsided the economic team with a second memo. It concerned something called the medical loss ratio, or M.L.R. The medical loss ratio compares what an insurer earns in premiums with what it pays out in benefits. An insurer who takes in a dollar and gives back eighty-five cents has a loss ratio of eighty-five per cent. Jeanne Lambrew wanted to place a floor on every insurer’s loss ratio: if a company kept too much of that dollar—if its M.L.R. fell below eighty-five or eighty per cent, say—it should have to refund the difference to its customers.

“Lambrew was certainly on firm political ground,” Brill writes. One senior White House aide called the proposal a “winner.” The rule would make it impossible for one of the economy’s least liked sectors to make excess profits. The feeling was, Brill says, that “it might end up being the single most politically appealing piece of healthcare reform.”

The economic team, however, wasn’t so sure:

Summers called it a “stupid idea,” and told his people to try to kill it. It was “dumb for us to cap anyone’s profits,” he said, dismissing the idea much the way the legendarily blunt Summers might have taken down a freshman economics student at Harvard who said something in class that he thought was “dumb.”

Summers’s point was that an M.L.R. floor distorted the insurer’s incentives. The argument goes like this: Suppose your doctor sends you to an imaging center to get a thousand-dollar MRI. But then your insurance company calls you and says that it’s found an equivalent provider just down the street that charges two hundred dollars. This, presumably, is what we want insurers to do. The market for medical procedures lacks price transparency and competition, and it’s scandalous that insurers routinely pay thousands of dollars for an MRI scan when the true cost of the procedure, by any metric, is a fraction of that. By taking steps like this, Summers thought, insurers could finally rein in, or even reduce, health-care premiums, which had been rising faster than inflation for years. But it is also highly likely that the insurer will keep a chunk of that eight-hundred-dollar savings for itself, in the form of higher profits. The prospect of higher profits is an insurer’s incentive for going to the trouble of looking for a cheaper MRI. In other words, if insurers do what we want them to do—cut costs and rein in premiums—it is likely that their loss ratios will fall. Why, Summers wondered, would you want to penalize them for doing that?

The economic team felt that health care could use a good dose of market incentives. The Lambrew-DeParle view, on the other hand, was that health care is different: the complex nature of the relationship between patients and their health-care provider is so unlike ordinary economic transactions that it can be governed only through cost controls and complicated regulatory mechanisms. When the two sides argued, they weren’t just reflecting a difference in tactics or emphasis. Their disagreement was philosophical: each held a distinct view about the nature of the transactions that take place around medical care.

Brill sides with the DeParle camp. His solution for the health-care problem is to treat the industry like a regulated oligopoly: he believes in price controls and profit limits and strict regulations for those who work within the health-care world, restrictions that he almost certainly thinks would be inappropriate for other sectors of the economy. A patient, he explains at the beginning of his book, is a not a rational consumer. That was the lesson he took from his own heart surgery. “In that moment of terror,” he writes, of blacking out after his surgery, “I was anything but the well-informed, tough customer with lots of options that a robust free market counts on. I was a puddle.”

But Brill spends very little time examining why he thinks this means that the market can’t have a big role in medicine, where most care is routine, not catastrophic. He just takes it for granted. And because he is not much engaged by the philosophical argument at the heart of the health-care debate, he can never really explain why someone involved in health-care reform might be unhappy with the direction that the Affordable Care Act ended up taking. He tells us who controlled the PowerPoint. But he can’t tell us why it mattered.

It is useful to read “America’s Bitter Pill” alongside David Goldhill’s “Catastrophic Care.” Goldhill covers much of the same ground. But for him the philosophical question—is health care different, or is it ultimately like any other resource?—is central. The Medicare program, for example, has a spectacularly high loss ratio: it pays out something like ninety-seven cents in benefits for every dollar it takes in. For Brill, that’s evidence of how well it works. He thinks Medicare is the most functional part of the health-care system. Goldhill is more skeptical. Perhaps the reason Medicare’s loss ratio is so high, he says, is that Medicare never says no to anything. The program’s annual spending has risen, in the past forty years, from eight billion to five hundred and eighty-five billion dollars. Maybe it ought to spend more money on administration so that it can promote competition among its suppliers and make disciplined decisions about what is and isn’t worth covering. Goldhill writes:

Medicare is cheaper to run than private insurance. So what? Cheaper doesn’t mean more efficient. It may be cheaper to run banks without security guards, hotels without housekeepers, and manufacturers without accountants, but that wouldn’t make those businesses more efficient.

Many state Medicaid programs have, similarly, a rule that says health-care providers cannot charge Medicaid more than the lowest price they give to anyone else. If you run an MRI machine and allow a privately insured patient to get a scan for two hundred dollars instead of a thousand dollars, you have to give all your Medicaid patients MRI scans for two hundred dollars. That’s a classic “health care is different” solution to the problem of excess health-care costs: pass a law guaranteeing the “sale price” to publicly funded patients. So what’s the result? Goldhill asks. Health-care providers behave the way any market participant would under the circumstances. They don’t have sales. What incentive would the Gap have for holding a Boxing Day blowout if, by law, it would have to offer those same low prices every other day of the year?

Goldhill takes a far more radical position than the economic team at the White House does. He believes that most of our interactions concerning health care are actually no different from our transactions concerning anything else: if we trust people to buy cars and houses and food and clothing on their own, he doesn’t see why they can’t be trusted to do the same with checkups, tonsillectomies, deliveries, flu shots, and the management of their diabetes. He thinks that the insurance function—inserting a third party between patients and providers—distorts incentives and raises prices, and has such an adverse impact on quality that health insurance should be limited to unexpected, high-cost occurrences the way auto insurance and home insurance are. These ideas are unlikely to make their way into policy anytime soon. But, in elaborating the market critique of the health-care status quo, Goldhill helps us understand what the argument we’re having right now is about. It is not just a political battle over Obama. It’s a battle over whether health care deserves its privileged status within American economic life.

The frustrating thing about “America’s Bitter Pill” is that Brill could have taken us one step further. He has introduced us to the policymakers, to Summers and DeParle, Kocher and Lambrew. He has taken us to the Roosevelt Room, where the two sides battle for the President’s attention. But, just at the point where “America’s Bitter Pill” could have become illuminating, exploring the conceptual gulf behind all the wrangling, Brill gets restless. He wants to get on to the next page in his notebook—to the next meeting that Obama had in the Roosevelt Room, to the briefing paper about such-and-such that was sent to So-and-So, and then, of course, to the debacle of the Web site, which had bugs until those bugs were fixed.

“Do you recall a memo that Peter Orszag wrote to you just after the law was passed urging you to put in charge someone with experience launching and running ventures as complicated as healthcare.gov?” Brill asks the President. He’s trying to be Woodward. It’s not as easy as it looks. “What were your reasons for not doing so? If you do not recall the memo, do you recall Peter and Larry Summers advising you to do this? . . .” 


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“Working in the White House on a Saturday afternoon had become routine for Zeke Emanuel and Bob Kocher,” Steven Brill tells us at the beginning of Chapter 9 of his ambitious new history of the Affordable Care Act, “America’s Bitter Pill” (Random House):

But they were usually able to leave at a decent hour. However, at 5 p.m. on Saturday, April 25, 2009, they were thrown into a state of near-panic. Emanuel, Kocher, and the rest of the staff from the Office of Management and Budget and the National Economic Council had been blindsided by the domestic policy crew.

At issue was a briefing paper written by the head of the White House health-care-reform effort, Nancy-Ann DeParle. It was early in the planning stages for Obamacare, and DeParle’s memo was a three-thousand-word document, in which she made the political case for a broad expansion of coverage. Kocher and Emanuel were taken aback. They were worried about the cost of the bill. The memo was supposed to go to the President at eight o’clock that night, which gave them just three hours to respond. “Any hopes for an early departure that Saturday evening were gone,” Brill writes.

By this point in the narrative, the reader is well acquainted with the cast of characters. DeParle was “a Rhodes scholar and graduate of Harvard Law School . . . a seasoned manager and savvy infighter when she had to be,” with a background in private equity. Kocher, a “Harvard-trained internist,” late of McKinsey, was “a walking encyclopedia of healthcare markets data who had an uncanny ability to turn it all into eye-opening PowerPoint presentations illustrating the dysfunction of the American system.” Emanuel was the “brashest” and most “academically credentialed of the trio of brilliant Emanuel brothers,” took “edgy” positions, and had an “MD and a PhD (in political philosophy) from Harvard, a master’s from Oxford, and a position teaching oncology at the Dana-Farber Cancer Institute in Boston.” He had “brains, cunning and [a] biting persona,” and was “ready, willing and able to layer it with the self-righteousness of a guy who treated cancer patients.” The two worked with Lawrence Summers—the “celebrated Harvard economics professor” and former Harvard president—and Peter Orszag, the whiz kid out of the Congressional Budget Office by way of Princeton and the London School of Economics. Brill, a graduate of Yale and Yale Law School, tends to specify the Ivy League credentials of his protagonists up front, with the result that his book sometimes reads like the class-notes section of an alumni bulletin. Barack Obama, we are reminded, is “the former Harvard Law Review president.” Jonathan Gruber, who was a Ph.D. student of Larry Summers at Harvard, was “an outgoing guy who had the intellectual chops of an Ivy League academic without the withdrawn personality.” And so on.

So there they were, Kocher of Harvard and Emanuel of Harvard blindsided by DeParle of Harvard. The evening became a blur. The two men tried desperately to alter the language of the briefing paper. But they were blocked by DeParle and her colleague Jeanne Lambrew—the “highly respected policy wonk,” who, at one of the first major congressional health-care summits, had “pushed back on the notion that the private sector could always be the answer.” The best they could do was alter a few words and phrases. Round One to DeParle.

For six pages, Brill painstakingly carries the story forward. Key phrases of the memo are parsed, their implications interrogated. “These options have been presented to your senior staff, and we have developed a package that could plausibly offset the cost of reform,” DeParle wrote. But the pronoun “we,” Brill argues, was ambiguous: it included her team but not the economic team. And could one side of the White House policy staff formulate a “package” without the other side? The directive from the Oval Office was clear. “Don’t bring us your problems,” Valerie Jarrett, the President’s gatekeeper, was known to say. “Bring us your solutions.” From that Saturday evening through the following Thursday, the two sides battled. Then came the showdown:

On April 30, 2009, a large group gathered with the president in the Roosevelt Room to review a PowerPoint about health-care reform. This was the meeting that DeParle’s April 25 memo had been meant to prepare the president for. But this time, the PowerPoint had been prepared jointly by the economic team and DeParle’s healthcare policy people. Peter Orszag and Larry Summers had insisted on that. In fact, Kocher, who prided himself on his McKinsey-bred PowerPoint skills, controlled the document.

Kocher controlled the document.

Near-history, the journalistic reconstruction of contemporary events, has come to be dominated by two schools. The first is represented by Michael Lewis. Lewis wrote about the 1996 Presidential election through the story of a Republican candidate no one had ever heard of, the eccentric millionaire Morry Taylor. “The Big Short” was an account of the financial crisis told through the eyes of four obscure short-sellers. Lewis’s interest is psychological and moral. His books have won him many admirers (including me) because they offer deceptively simple narratives in the service of a grand canonical theme. “Liar’s Poker,” which recounts the young Lewis’s stint in the Wall Street of the nineteen-eighties, is Daniel in the lion’s den. “Money Ball,” about the strategies of small-market baseball teams, is David and Goliath. “The Blind Side” is the Good Samaritan. “The Big Short” is Noah’s Ark, and “Flash Boys” is Jesus casting the money changers out of the temple.

The second school is associated with the Washington Post reporter Bob Woodward. Woodwardian history is kaleidoscopic. The reporter makes many telephone calls and office visits, and reads many documents. All key players are represented and events detailed. The approach is sociological: the great theme of the Woodward school is the interaction of institutions and vested interests. In a Lewis, if you remove the titles of the characters and simply identify them by their first names, nothing is lost: an individual’s character, not his position, is what matters. In a Woodward, the opposite is often true. Names may be irrelevant; titles tell you what you need to know. That is what makes Woodward and Carl Bernstein’s “All the President’s Men” a masterpiece: its great achievement was to show how the institutional power of the White House led to the President’s personal corruption. The Lewis brings drama to what we thought was prosaic. But when the underlying subject is inherently dramatic, and when the heart of the story lies behind doors that only dogged reporting can unlock, the Woodward is what we need. You don’t want Michael Lewis on Watergate. He’d get distracted by Rose Mary Woods and would never make it into the Oval Office.

“America’s Bitter Pill” is Brill’s attempt at a Woodward. The book is wrapped in the presumption of controversy: reviewers who received early copies had to sign a nondisclosure agreement. The reporting is exhaustive. Brill tells us that he interviewed “243 people—many of them multiple times—over twenty-seven months.” When Brill informs us that Valerie Jarrett likes to use the common managerial adage “Don’t bring us your problems; bring us your solutions,” he states that his source for this fact is the testimony of “three senior members of Obama’s staff.” Next comes a footnote:

Although Jarrett declined comment, assistant press secretary Eric Schultz denied this account offered by these senior Obama advisers, saying, “Valerie doesn’t use this phrase and regularly reminds our staff that the president and our senior team don’t like surprises, to further encourage staff to bring to their attention both problems and solutions.”

Then, in an appendix, Brill presents the text of questions that he submitted to Obama, including:

I am told by five people who have served in senior capacities in the Administration that Ms. Jarrett often told them that “the President wants you to bring us your solutions, not your problems.” . . . I feel compelled to ask you to comment on that.

Note how the three sources he interviewed in the text have now grown to five. Between the writing of the main text and the completion of the appendix, apparently in the belief that he had not fully explored the issue of Jarrett’s directive, Brill kept on going, enlisting one senior Administration official after another—up to and including the President—in his quest to resolve the Solutions vs. Solutions and Problems conundrum. Brill wants to take us behind the locked door.

“America’s Bitter Pill” consists of a series of parallel stories. Brill gives us case studies of Americans whose lives have been devastated by outrageous medical bills. He describes the launch of Obamacare in Kentucky; the early days of Oscar, a health-insurance startup in New York City; and his own terrifying experience with a life-threatening aortic aneurysm. Each of these stories orbits his central narrative, “the roller-coaster story of how Obamacare happened, what it means, what it will fix, what it won’t fix, and what it means to people.”

Brill’s intention is to point out how and why Obamacare fell short of true reform. It did heroic work in broadening coverage and redistributing wealth from the haves to the have-nots. But, Brill says, it didn’t really restrain costs. It left incentives fundamentally misaligned. We needed major surgery. What we got was a Band-Aid.

One of Brill’s examples is drug prices. While he was working on his book, he writes, “a drug called Sovaldi burst onto the scene.” Sovaldi is used for hepatitis C, and its manufacturer, Gilead Sciences, has priced it at a thousand dollars per pill—which comes out to eighty-four thousand dollars for a course of treatment. Brill quotes Sarah Kliff, who writes on health-care policy, pointing out that California might well end up spending more on Sovaldi for its Medicaid patients than it does on all K-12 and higher education. “The exact price Gilead chose for Sovaldi said something in and of itself about the nonexistent regulatory environment drug companies knew they faced in the United States,” he writes. “Rather than set the price at, say, $989 or $1,021—at least to create the impression that it was based on some calculation other than ‘Let’s charge whatever we want’—the company had chosen a simple round number, $1,000.”

How can we have a solution to the health-care crisis without making any attempt to curb runaway drug prices? Medicare isn’t even allowed to negotiate directly with drug companies. “Should we be embarrassed and maybe even enraged that the only way our country’s leaders in Washington could reform healthcare was by making backroom deals with all the interests who wanted to make sure that reform didn’t interfere with their profiteering?” Brill writes, in a section structured around a series of italicized questions. “Of course. We’ll be paying the bill for that forever.”

Brill devotes fifty pages to another Obamacare shortcoming, the early malfunctioning of the Web site. He originally thought that the site would be a showcase for what government could do. But, on the train back from his initial round of interviews in Washington, he glanced at his notes and realized that he had been given seven different answers to the question of who was in charge of the launch of the federal exchange, including an “incomprehensible” organizational chart with four diagonal lines crossing one another and forming a “lopsided” triangle:

Should we be amazed, and disappointed, at how Obama treated the nitty-gritty details of implementing the law as if actually governing was below the pay grade of Ivy League visionaries?

Absolutely. This failure to govern will stand as one of the great unforced disappointments of the Obama years.

At the end of “America’s Bitter Pill,” Brill offers his own solution to the health-care crisis. He wants the big regional health-care systems that dominate many metropolitan areas to expand their reach and to assume the function of insuring patients as well. He talks to Jeffrey Romoff, the C.E.O. of the University of Pittsburgh Medical Center, who is about to try this idea in the Pittsburgh area, and becomes convinced that the same model would work throughout the country. “The [hospital’s] insurance company would not only have every incentive to control the doctors’ and hospitals’ costs, but also the means to do so,” he writes. “It would be under the same roof, controlled by Romoff. Conversely, the hospitals and doctors would have no incentive to inflate costs or over-treat, because their ultimate boss, Romoff, would be getting the bill when those extra costs hit his insurance company.”

Cartoon
“It’s mostly sweater weight.”

Brill talks through his idea with several other prominent health-care-system C.E.O.s (“doctor-leaders,” he calls them), whose résumés are helpfully elaborated: “Glenn Steele, Jr., a former cancer surgeon and professor at Harvard Medical School,” and Gary Gottlieb, the head of a Boston group “formed by the merger of the area’s two most highly reputed hospital brands, both of which were affiliated with Harvard Medical School.” A system like this, Brill estimates, based on a few back-of-the-envelope calculations, could slice twenty per cent off the private-sector health-care bill.

It’s at moments like this that Brill’s book becomes problematic. The idea he is describing is called integrated managed care. It has been around for more than half a century—most notably in the form of the Kaiser Permanente Group. Almost ten million Americans are insured through Kaiser, treated by Kaiser doctors, and admitted to Kaiser hospitals. Yet Brill has almost nothing to say about Kaiser, aside from a brief, dismissive mention. It’s as if someone were to write a book about how America really needs a high-end electric-car company that sells its products online without being the least curious about Tesla Motors.

In a Lewis, this wouldn’t matter so much. “Flash Boys” was criticized by some on Wall Street for mischaracterizing the world of high-frequency trading. But “Flash Boys” explicitly set out to tell its story through the eyes of a renegade trader named Bradley Katsuyama, and the test of the book’s success was whether it captured Katsuyama’s view of high-frequency trading. In a Woodward, the goal is different. A book like Mark Bowden’s “Black Hawk Down”—a Woodward that outdoes even Woodward—sets out to describe things as they actually happened, not things as filtered through one person’s idiosyncratic perspective. The currency of the Lewis is empathy. The currency of the Woodward is mastery—and nothing is more corrosive to the form than the suspicion that the author doesn’t grasp the full picture.

Does the botched launch of the Web site deserve fifty pages? Maybe so. This certainly was something that felt significant at the time. But what we want to know is how much it ultimately mattered, and there is little in Brill’s reporting that sheds light on that question. The Administration built a Web site in order to give Americans access to one of the most complex pieces of legislation in history. The site had lots of bugs, in the beginning, as complicated pieces of software often do. Then the Administration fixed the bugs quickly, and the response was such that the Affordable Care Act reached its enrollment targets. “I was, like, never worried,” Brill quotes Mickey Dickerson, an expert from Google whom the Administration brought in to get the Web site on track, as saying. “It’s just a website. We’re not going to the moon.” Brill wants the Web-site saga to stand for something larger, but in the end what it seems to stand for is the fact that Web sites, in the beginning, sometimes crash a lot.

The Sovaldi example is equally puzzling. A thousand dollars for a pill sounds like a lot of money. But hepatitis C is a costly disease. It’s the leading reason for liver transplants, which are among the most expensive of all medical procedures. A 2013 study published in the journal Hepatology estimated the lifetime health-care costs of the average hepatitis-C patient (when medical inflation was factored in) at more than two hundred thousand dollars. The drug regimens that came before Sovaldi didn’t work very well and had terrible side effects. Brill quotes Sarah Kliff on how much the drug will cost the state of California, but what he doesn’t mention is that Kliff followed up on her initial analysis with another that was headlined, above a picture of Sovaldi capsules, “EACH OF THESE HEPATITIS C PILLS COSTS $1,000. THAT’S ACTUALLY A GREAT DEAL.

The problem with the pharmaceutical industry is not that it makes too many drugs like Sovaldi. It’s that it makes too many drugs that aren’t like Sovaldi, drugs whose costs vastly outstrip their benefits: cancer treatments that cost tens of thousands of dollars and extend life only minimally, or expensive me-too drugs that perform no better than cheap generics. We certainly need to be smarter about the drugs we use, and Medicare should be relieved of the congressionally mandated restrictions that make it impossible to bargain directly with drug companies. But Sovaldi targets a painful and costly disease with a substantially cheaper, safer, and more effective one-time cure. This is what we want drug companies to do. Of all the examples that Brill could have used to bolster his argument, why did he pick that one?

On May 2, 2009, Brill writes, the domestic-policy group at the White House blindsided the economic team with a second memo. It concerned something called the medical loss ratio, or M.L.R. The medical loss ratio compares what an insurer earns in premiums with what it pays out in benefits. An insurer who takes in a dollar and gives back eighty-five cents has a loss ratio of eighty-five per cent. Jeanne Lambrew wanted to place a floor on every insurer’s loss ratio: if a company kept too much of that dollar—if its M.L.R. fell below eighty-five or eighty per cent, say—it should have to refund the difference to its customers.

“Lambrew was certainly on firm political ground,” Brill writes. One senior White House aide called the proposal a “winner.” The rule would make it impossible for one of the economy’s least liked sectors to make excess profits. The feeling was, Brill says, that “it might end up being the single most politically appealing piece of healthcare reform.”

The economic team, however, wasn’t so sure:

Summers called it a “stupid idea,” and told his people to try to kill it. It was “dumb for us to cap anyone’s profits,” he said, dismissing the idea much the way the legendarily blunt Summers might have taken down a freshman economics student at Harvard who said something in class that he thought was “dumb.”

Summers’s point was that an M.L.R. floor distorted the insurer’s incentives. The argument goes like this: Suppose your doctor sends you to an imaging center to get a thousand-dollar MRI. But then your insurance company calls you and says that it’s found an equivalent provider just down the street that charges two hundred dollars. This, presumably, is what we want insurers to do. The market for medical procedures lacks price transparency and competition, and it’s scandalous that insurers routinely pay thousands of dollars for an MRI scan when the true cost of the procedure, by any metric, is a fraction of that. By taking steps like this, Summers thought, insurers could finally rein in, or even reduce, health-care premiums, which had been rising faster than inflation for years. But it is also highly likely that the insurer will keep a chunk of that eight-hundred-dollar savings for itself, in the form of higher profits. The prospect of higher profits is an insurer’s incentive for going to the trouble of looking for a cheaper MRI. In other words, if insurers do what we want them to do—cut costs and rein in premiums—it is likely that their loss ratios will fall. Why, Summers wondered, would you want to penalize them for doing that?

The economic team felt that health care could use a good dose of market incentives. The Lambrew-DeParle view, on the other hand, was that health care is different: the complex nature of the relationship between patients and their health-care provider is so unlike ordinary economic transactions that it can be governed only through cost controls and complicated regulatory mechanisms. When the two sides argued, they weren’t just reflecting a difference in tactics or emphasis. Their disagreement was philosophical: each held a distinct view about the nature of the transactions that take place around medical care.

Brill sides with the DeParle camp. His solution for the health-care problem is to treat the industry like a regulated oligopoly: he believes in price controls and profit limits and strict regulations for those who work within the health-care world, restrictions that he almost certainly thinks would be inappropriate for other sectors of the economy. A patient, he explains at the beginning of his book, is a not a rational consumer. That was the lesson he took from his own heart surgery. “In that moment of terror,” he writes, of blacking out after his surgery, “I was anything but the well-informed, tough customer with lots of options that a robust free market counts on. I was a puddle.”

But Brill spends very little time examining why he thinks this means that the market can’t have a big role in medicine, where most care is routine, not catastrophic. He just takes it for granted. And because he is not much engaged by the philosophical argument at the heart of the health-care debate, he can never really explain why someone involved in health-care reform might be unhappy with the direction that the Affordable Care Act ended up taking. He tells us who controlled the PowerPoint. But he can’t tell us why it mattered.

It is useful to read “America’s Bitter Pill” alongside David Goldhill’s “Catastrophic Care.” Goldhill covers much of the same ground. But for him the philosophical question—is health care different, or is it ultimately like any other resource?—is central. The Medicare program, for example, has a spectacularly high loss ratio: it pays out something like ninety-seven cents in benefits for every dollar it takes in. For Brill, that’s evidence of how well it works. He thinks Medicare is the most functional part of the health-care system. Goldhill is more skeptical. Perhaps the reason Medicare’s loss ratio is so high, he says, is that Medicare never says no to anything. The program’s annual spending has risen, in the past forty years, from eight billion to five hundred and eighty-five billion dollars. Maybe it ought to spend more money on administration so that it can promote competition among its suppliers and make disciplined decisions about what is and isn’t worth covering. Goldhill writes:

Medicare is cheaper to run than private insurance. So what? Cheaper doesn’t mean more efficient. It may be cheaper to run banks without security guards, hotels without housekeepers, and manufacturers without accountants, but that wouldn’t make those businesses more efficient.

Many state Medicaid programs have, similarly, a rule that says health-care providers cannot charge Medicaid more than the lowest price they give to anyone else. If you run an MRI machine and allow a privately insured patient to get a scan for two hundred dollars instead of a thousand dollars, you have to give all your Medicaid patients MRI scans for two hundred dollars. That’s a classic “health care is different” solution to the problem of excess health-care costs: pass a law guaranteeing the “sale price” to publicly funded patients. So what’s the result? Goldhill asks. Health-care providers behave the way any market participant would under the circumstances. They don’t have sales. What incentive would the Gap have for holding a Boxing Day blowout if, by law, it would have to offer those same low prices every other day of the year?

Goldhill takes a far more radical position than the economic team at the White House does. He believes that most of our interactions concerning health care are actually no different from our transactions concerning anything else: if we trust people to buy cars and houses and food and clothing on their own, he doesn’t see why they can’t be trusted to do the same with checkups, tonsillectomies, deliveries, flu shots, and the management of their diabetes. He thinks that the insurance function—inserting a third party between patients and providers—distorts incentives and raises prices, and has such an adverse impact on quality that health insurance should be limited to unexpected, high-cost occurrences the way auto insurance and home insurance are. These ideas are unlikely to make their way into policy anytime soon. But, in elaborating the market critique of the health-care status quo, Goldhill helps us understand what the argument we’re having right now is about. It is not just a political battle over Obama. It’s a battle over whether health care deserves its privileged status within American economic life.

The frustrating thing about “America’s Bitter Pill” is that Brill could have taken us one step further. He has introduced us to the policymakers, to Summers and DeParle, Kocher and Lambrew. He has taken us to the Roosevelt Room, where the two sides battle for the President’s attention. But, just at the point where “America’s Bitter Pill” could have become illuminating, exploring the conceptual gulf behind all the wrangling, Brill gets restless. He wants to get on to the next page in his notebook—to the next meeting that Obama had in the Roosevelt Room, to the briefing paper about such-and-such that was sent to So-and-So, and then, of course, to the debacle of the Web site, which had bugs until those bugs were fixed.

“Do you recall a memo that Peter Orszag wrote to you just after the law was passed urging you to put in charge someone with experience launching and running ventures as complicated as healthcare.gov?” Brill asks the President. He’s trying to be Woodward. It’s not as easy as it looks. “What were your reasons for not doing so? If you do not recall the memo, do you recall Peter and Larry Summers advising you to do this? . . .” 


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Photo
CreditMichael Bierut

Steven Brill is not easily intimidated. The founder of Court TV and Brill’s Content, among many other ventures, Brill likes to dive deeply and quickly into complicated national policy issues — public education, health care — that he, by his own admission, knows relatively little about when he begins. This is his great appeal and can be a great frustration. It makes him vulnerable to the charisma of his sources, as was apparent in his 2011 book, “Class Warfare,” in which he seemed dazzled by individuals involved in privatizing public education, while he largely ignored the existing research.

But in Brill’s new book, “America’s Bitter Pill,” his fresh, outsider curiosity makes him a superb guide to the maze of issues in American health care and health care reform. He breaks down insider language, asks fundamental and surprising questions, and leaves the reader — at least this one — full of more questions yet with a much clearer map of the lines of debate. You may not be persuaded by his conclusions, but you’ll emerge with a broader understanding of the characters and questions shaping our health care system.

“America’s Bitter Pill” is an energetic, picaresque, narrative explanation of much of what has happened in the last seven years of health policy. It is full of insights, contradictions, apologias, flashes of anger, tidbits of history, extended stories of awe, compassion, some glibness and moments of brilliance. Above all, it includes fascinating reporting on how crucial decisions were made involving the drafting and implementation of the Affordable Care Act.

What is this book about? Well, every­thing. It reminded me of a Bruegel painting, so full of minor characters that I made a chart to keep track. It is about the conflicts between President Obama’s economic policy team and his health care policy team. It is about the initial white paper from Senator Max Baucus that didn’t even include the “public option” of a ­government-run insurance plan.It is about the “chargemaster” system of American health care, whereby hospital administrators easily drive up costs because of their relative bargaining power over insurers and patients. It is about a woman openly talking about how she and her husband — insured, but underinsured — had to create their own family “death panel” to weigh the cost of medical treatments that might keep him alive for another month. It is about Brill’s own open-heart surgery and how it affects his understanding of costs, and repeated visits to a group of well-­funded entrepreneurs trying to create a “cool” new insurance company. Following his 2013 Time magazine cover story that inspired the book, Brill introduces us to Americans with no coverage, as well as those with inadequate coverage, like the 61-year-old bus driver whose slip in her yard and busted nose led to six hours in the hospital, six stitches and six years of medical bills.

It is also about a Washington fight for power among five key forces: insurers, hospitals, patients, pharmaceutical companies and medical equipment suppliers, and the general public, including those who are supposed to represent them. In Brill’s account of the Affordable Care Act, the insurers got a fair shake, uninsured and underinsured patients truly benefited, hospitals and pharmaceutical companies and medical equipment companies were left free to charge exorbitant prices, while the general public was left with no real strategy for cost containment.

In other words, Brill is impressed with the expanded coverage provided by Obama­care, and depressed about the cost of care.

Despite the cynical title, this is a surprisingly triumphant book. A significant number of pages are dedicated to something extremely rare: three gripping stories of great government success.

First, there is the improbable story of passing any health care reform in the first place. Max Baucus, the Montana Democrat and chairman of the Senate Finance Committee, spends untold hours trying to court the Republican senators Charles Grassley and Olympia Snowe; Baucus’s initial bipartisan dream appears close enough to touch, and then it falls away. Edward Kennedy, an engine behind Obama’s focus on health care and a critical 60th vote, dies. Scott Brown, a Republican, wins Kennedy’s seat. Brown’s victory doesn’t end health care reform but severely circumscribes it, because House Democrats lose their negotiating power: They are forced to accept the Senate bill or face the prospect of no bill at all.

Photo
CreditMichael Bierut

Then there is the inspiring story of Steve Beshear, Democratic governor of Kentucky, and Carrie Banahan, the civil servant who manages a near-flawless rollout of Kynect, Kentucky’s implementation of the Affordable Care Act that included a properly functioning website. (This led Senator Mitch McConnell of Kentucky, the Republican leader, to campaign comically both for and against the same thing, saying he was opposed to Obamacare but in favor of Kynect — which was, of course, Obamacare.)

Finally, there is the long story of the botched website debut. As Brill tells it, the website was almost overdetermined to fail. There was no one in charge — or too many people in charge — and the people who built it had never been involved in a project of this magnitude. At the same time, the White House wanted to stall on the regulations necessary to set up the insurance exchanges because, as Brill notes, “they did not want to make any waves before the election.” But after the embarrassing beginning, the White House quickly addressed problems of structure and personnel, and 7.1 million people signed up within six months, 100,000 more than the initial goal.

Brill finds Obama’s early failure to be more involved in the “nitty-gritty details” a “great unforced disappointment,” but he looks with enormous admiration at what the president was able to accomplish, calling it “a milestone toward erasing a national disgrace.”

“America’s Bitter Pill” presents a personality-­driven view of historical change, including the temperaments and accidental moments that affect history, like the ill-timed December vacation of Martha Coakley, who was running against Scott Brown for Kennedy’s Senate seat. But two of the book’s more powerful insights have to do with matters of industrial or bureaucratic structure. The first involves the health delivery system. Many people tend to look with alarm at consolidation in the insurance industry, and they focus on insurance company lobbying power as the essential cause of rising ­prices. One of Brill’s critical insights is how consolidation in the hospital industry has actually decreased insurer power relative to provider power: Much of the rising cost of health care comes from overcharging by hospitals, not insurers.

Take the example of NewYork-­Presbyterian Hospital. Because of its size and array of serv­ices, no insurance company in the New York City area can sell policies if it doesn’t include NewYork-Presbyterian — therefore none of them are able to bargain aggressively for lower prices. This is not unique to NewYork-Presbyterian, nor is it even the most extreme example: Consolidation is the norm in many markets around the country. The hospital sets the price, and the insurer jumps to it.

The second insight has to do with the structure of management within the government. Brill argues that the initial website rollout failed in significant part because the “Office” in charge was demoted to a “Center,” in order to protect it from Republican funding cuts. In a wonderful passage, he recalls taking the train to Washington and reviewing his notes, noticing that when he asked different people who was in charge of establishing the federal exchange, he got seven different answers.

The subtitle — money, politics, back-room deals — refers primarily to the role the pharmaceutical industry plays in gutting any chance for cost effectiveness or price controls. According to the Center for Responsive Politics, the trade group Pharmaceutical Research and Manufacturers of America (PhRMA) has spent a quarter of a billion dollars since 1998 on lobbying. Brill shows what that means in day-to-day negotiations. Billy Tauzin, a former congressman and, until 2010, the trade group’s president, is the voice of Big Pharma in the book.

Tauzin is everywhere in the negotiations. He does not so much haggle as dictate policy, identifying the precise amount the industry would be willing to give up and still support the bill. Tauzin successfully guts comparative effectiveness research under Obamacare — Big Pharma’s profits are threatened by studies comparing which drugs work effectively at lower costs. With projections showing that the pharmaceutical industry will make at least $200 billion more with expanded coverage, Tauzin and his group “kick in” what amounts to $80 billion in givebacks, in exchange for killing any chance of containing the costs of drugs. He agrees to spend $70 million in political action funds supporting reform, and when pressured to raise his industry’s contribution to $120 billion, he sits tight, confident that he can kill the bill. Describing Tauzin’s position, Brill is matter-of-fact: “He knew they could never get 60 votes in the Senate if the drug makers switched sides and began financing a different set of ads, and he said so.”

Depending on one’s view,” Brill writes, “this secret deal between Obama political operatives, PhRMA, staffers from the Senate Finance Committee who had just brokered a multibillion-dollar deal with ­PhRMA, major unions and other liberal groups was proof that Washington was finally buckling down, coming together and getting the people’s business done; or it was Washington at its worst: liberal groups selling out to big business to accommodate all the groups’ special interests.”

Brill tells us what he thinks (the deals with Big Pharma were tragic but politically necessary); he becomes partisan when he wants to defend a subject he believes has been unfairly attacked; he fills a chapter with direct statements of conclusion. He brushes over some contentious issues, making a casual assumption that tort reform would keep medical costs down. (Texas has tort reform, but there is no evidence to show it has kept costs from escalating.) His glibness in these areas, along with a charming tendency to find some persuasive argument in almost everyone he interviews, led me to trust his reporting but to be more skeptical of his policy prescriptions.

Ultimately, Brill comes across as a fallible human trying to understand the politics and implications of health care on our behalf, and he has pulled off something extraordinary — a thriller about market structure, government organization and billing practices, by turns optimistic and pessimistic, by turns superficial and insightful, but always interesting, and deadly important.

 


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다큐 봄 - 블렌더 삼. 





SUPERFOODS

Superfoods are a special category of foods found in nature. By definition they are calorie sparse and nutrient dense meaning they pack a lot of punch for their weight as far as goodness goes. They are superior sources of anti-oxidants and essential nutrients - nutrients we need but cannot make ourselves. 

We all may be adding more salads and vegetables to our diets, but concern over the quality of foods grown on mineral depleted soils makes Superfoods an intelligent choice. For more information on how to use Superfoods in your day to day life please have a look at our our superfood greens and browse the pages on 5 most important categories of superfoods below.


Green Superfoods

Greens are good, Green Superfoods are even better! Green superfoods have the highest concentrations of easily digestible nutrients, fat burning compounds, vitamins and minerals to protect and heal the body. They contain a wide array of beneficial substances including proteins, protective photo-chemicals and healthy bacteria helping you to build cleaner muscles and tissues, aid your digestive system function and more effectively protect you against disease and illness.
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Fruit and Nut Superfoods

Fruit and nut superfoods are high in anti-oxidants that fight free radicals in the body. Free radicals may sound a little like an extremist terrorist sect evading capture and wreaking havoc across the globe and in fact within the context of your body this would be right. They are, in part, a natural occurrence through metabolism however extra and unnecessary free radical load can be put on our bodies by external factors including pollution, cigarette smoke, radiation, burnt foods, deep fried fats and cooked foods.
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Bee Superfoods

The Egyptians wrote about it back in 5500 B.C., the Indians used it for their religious ceremonies in 1000 B.C. and even the Babylonians have been noted to use it in their medicinal practices. The western world actually discovered the benefits of bee superfoods by accident during an investigation of native Russian Beekeepers who regularly lived past 100 years of age who ate raw honey, rich in bee pollen, every day.
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Seaweed Superfoods

Seaweeds are the most nutritionally dense plants on the planet as they have access to all the nutrients in the ocean. They can contain up to 10 times more calcium than milk and eight times as much as beef. The chemical composition of seaweeds is so close to human blood plasma, that perhaps their greatest benefit is regulating and purifying our blood system.
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Herb Superfoods

Herbs as nourishment offer the body a whole host of nutrients it may not have received either because of poor diet or environmental deficiencies in the soil or air. Herbs as medicine are essentially body balancers that work with the body functions so that it can heal and regulate itself. Herbs have been used for centuries as part of the wisdoms of natural healing methods.
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리뷰 극히 갈리는 이 영화, 난 80점. 

세 시간이라는 시공을 한 배경에서 채워 먹는다는 것이 참으로 대단하다, 인정. 한 공간에 구겨 갇혀 사람 대열 명 모아놓고 한 극에서 다른 극으로 오가는 그림, 심지어 집중도도 높았다. 격히 웃긴 대사하며 훌륭한 연기따위는 볼거리. 딱히 뭐 없는 비주얼은 현실묘사의 구실정도만 한다. 

같은 목적지를 향해 가는 사람들인데 제각 원하는 것이 다르고 공유라는 것은 서로에 대한 혐과 의심. 죽음이 무섭지 않은 시대이지만 분명 변해가는 시대이다. 같은 죽음이어도 정당성이 가려진다는 따위의 철학을 논하고, 더럽혀질 손이지만 이유를 부여하겠다는 목적으로 모욕과 수치를 쏟는다. 

흑백 사이에 흐르는 적대감이 어쩌면 최고에 닿았을 이 시대의 모습은 정말 이러했을까, 평시 생각지도 못 했을 시대를 기억하게한다. 링컨의 편지따위로, 그것 만으로, 삶의 질을 조작 할 수 있었다는, 너는 나의 삶을 모른다 말하는 잭슨. 내가 시키는 것을 모두 다하였는데도 네 아들은 천조가리를 바라다 죽었다며 숨넘겨 웃는 그 모습에 손가락질을 할 수 있는지는 미지수. 나는 모르지만 누군가는 겪었을, 그리고 겪고 있을, 희멀거진 어느 날의 역사. 

하지만 역사의 그림과는 다른 화면의 모습, 결국 마지막 웃는자는 역사를 역하면서도 반영한다. 다수의 백인 속에서 멸시당하던 유일한 흑인은 결국 목숨을 끝까지 끌어간다. 그것이 승리인지는 모르겠다, 이 더러운 구덩이에서 먼저 죽은 미니가 승자일지도. 

번잡하고 흐지부지한 메세지의 완벽치만은 않은 연출. 그래도 웃겼으니 난 좋음. 

그나저나 혼자 연기 다 해드시는 잭슨님, 그 까만 피부에 흰 눈동자 굴려가며 얼굴 근육 하나하나 치열하다, 감탄. 





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아무도 보지 않았어도 모두가 본 영화, 우리는 이영화를 보지 않았어도 보았다, 그럼에도 관객을 만족시키는 이 독단적인 영향력은 유일무이. 내가 본 유일한 스타워즈는 이십여년 전에 첫 편이지만 그러한 나에게도 보이는 연결고리. 새 시대와 구시대를 동시 공략의도

아무튼 나는 이 영화를 모르는데 나름의 재미. 골수팬덤은 어찌 반응했을지 모르지만 나 따위의 관객을 잡으려던 의도는 성공적인가, 미지수. 이 시대의 모든 트렌드를 나름 다룬 세련됨은 보인다. 리더는 여자이며 영웅은 흑인이며 독제를 규탄하려는 내부고발자로인해 승산을 거두는 사회구조. 대체적으로 훌륭한 연기었다는 전체적 평을 나는 이해치 못한다. 어설픔은 없었지만 훌륭함의 포인트또한 보이지 않았다. 츄이의 귀여움 따위를 제외콘 별 것 없는 유머. 

무엇보다 굉장함은 이 여자, 저 그렁그렁 눈빛이며 눈빛이며. 그냥 이 여자가 화면에 잡히면 그냥 좋으다. 독립적이지만 가족에 대한 깊은 그리움을 안고, 정많고 씩씩한 완전한 완벽 캐릭터. daisy ridley 



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Mer floating her words melted she said I long for that We met followed the map looked for the gold I long for you Even if the reasons change it’s never gonna freeze again even if the matters change we’re all gonna remain the same even if we face the end thoughts are gonna stay as cells though all that is what I want all that is what I want Across another river reached the ocean just before sunset bombing started with a roar yet we’re unfazed we’re unamazed we’re staying calm and chasing other details not that easy though all that is what I want all that is what I want Mer one for myself one for the wish I long for you We met one is for you one for the gold I long for that Even if the reasons change it’s never gonna freeze again even if the matters change we’re all gonna remain the same even if we face the end thoughts are gonna stay as cells though all that is what I want all that is what I want Across another river reached the ocean just before sunset bombing started with a roar yet we’re unfazed we’re unamazed we’re staying calm and chasing other details not that easy though all that is what I want all that is what I want

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feed my soul idioteque 삶의 에너지 

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베테랑

문화생활 /영화 2015. 9. 25. 15:14



베테랑 (2015)

Veteran 
8.4
감독
류승완
출연
황정민, 유아인, 유해진, 오달수, 장윤주
정보
액션, 드라마 | 한국 | 123 분 | 2015-08-05


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언브레이커블 (2000)

Unbreakable 
7
감독
M. 나이트 샤말란
출연
브루스 윌리스, 사무엘 L. 잭슨, 로빈 라이트, 스펜서 트리트 클라크, 샬레인 우다드
정보
스릴러, 판타지 | 미국 | 107 분 | 2000-12-09
글쓴이 평점  

주인공은 왜 일본으로 돌아갔을까? 굳이 


전쟁은 어떤 의미인가, 세계적인 관점에서 혹은 개인의 관점에서. 나의 나라에서 전쟁은 어떤 의미인가, 타인의 나라를 침범한다는 것은 어떤 의미인가. 


전쟁을 연출한다는 것은 어떤 의미인가? 

졸리는 왜 이 영화를 찍었을까? 미야비는 왜 이 영화를 찍었을까? 



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매드맥스: 분노의 도로 (2015)

Mad Max: Fury Road 
8.9
감독
조지 밀러
출연
톰 하디, 샤를리즈 테론, 니콜라스 홀트, 휴 키스-바이른, 조쉬 헬먼
정보
액션, 어드벤처 | 오스트레일리아 | 120 분 | 2015-05-14
글쓴이 평점  



아 무슨 이 딴 환상적인 영화가 있을 수 있는 것인가. 극장의 모든 영화를 종료하고 이것만 일주일은 상영해야 한다. 


water

women 

power

suicidal obedience 

hope / devastation 

responsibility / returning to fix 


wordless beauty 












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위플래쉬 (2015)

Whiplash 
8.4
감독
데미언 차젤
출연
마일스 텔러, J.K. 시몬스, 폴 라이저, 멜리사 비노이스트, 오스틴 스토웰
정보
드라마 | 미국 | 106 분 | 2015-03-12
다운로드 글쓴이 평점  


사람들과의 관계, 예술과의 관계, 현실성과의 거리 등 모든 것을 적당히 적절히 표현한 예술. 더불어 시청각적 환상은 행복의 공식.


아버지와의 어색한 관계, 흔히보는 아버지의 이루지 못 한 꿈을 쫓는 혹은 아버지의 명성을 따르지 못하는 따위의 진부함은 없다. 되려 가족관계는 예술을 이해치 못하는 오히려 흔할 법한 그림. 그렇다고 아버지의 대신을 찾지도 않는 주인공과 그것을 그럴싸하게 체워주지도, 노력 조차 없는 교수. 이러한 괜함없는 관계들의 동선은 존재하면서도 하지 않는듯 흐름을 도울 뿐. 이러한 발란스를 어찌 완벽이라 할 수 없는지. 


한계는 존재하지 않는 듯한 예체능의 세계. 그 미지의 세상에서 한할만 학교라는 뉴욕이라는 배경. 연습이라는 범위 없는 수행에 집중한 영화의 포인트는 매우 훌륭타. 더불어 그것을 극으로 밀어넣는 교수의 캐릭터는 미소짓게되는 선택. 보이지 않는 선을 넘나드는 캐릭터들의 선택과, 그것을 허용하는 예술이라는 세계. 주제를 헛되이 낭비치 않는 스토리라인, 그 정점을 마지막에 위치한 플롯은 그저 감탄.

이 모든 기초에 적절한 재미를 두고도 수준을 두어 층 올리는 것은 배우들의 연기와 음악. 눈빛, 손가락의 움직임 만으로도 볼 만한 거리를 만든다. 영화 중 어느 10초를 떼어두어도 볼 거리 들을거리가 가득, 환상의 정석. 






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엑스 마키나 (2015)

Ex Machina 
7.6
감독
알렉스 갈렌드
출연
돔놀 글리슨, 알리시아 비칸데르, 오스카 아이삭, 첼시 리, 미즈노 소노야
정보
SF, 스릴러 | 미국, 영국 | 108 분 | 2015-01-21
글쓴이 평점  


이 따위가 높은 평을 받는 이유를 알 수는 없지만, 이 만큼의 관심과 나의 분을 산다는 것 자체로 점수를 주리. A.I. 인공지능이라는 흥미로울 수 있는 현 시대의 주제로 예측 가능 할 만큼의 지루한 영화를 만든 것을 넘어 보다 저질인 점은 주제의 추악함만을 흥미요소로 관객들에게 던진다는 것. 사람과 신의 범위 따위의 뻔한 주제를 던져두고 그것에 대한 탐험을 연구조차 하지 않았으며 시간을 투자한 부분은 결국 혼란 속에서 중심을 잃은 개인들의 더러움 뿐. 

'인간은 무엇인가' 라는 질문은 누구나 할 수 있는 쉬운 질문. 답이 미묘하다하여 질문 또한 그러하지 않다, 아무나 던질 수 있는 질문을 던진 것일 뿐. 그것이 이 만큼의 관심을 부르는 것은 관객의 수준을 드러내는 것인가. 

search engine database 라는 현 시대의 관심사를 중심에 두고도 이런 겉 핥기 식 로보트를 만들어 낸 것은 실망 자체. 무한한 정보의 조합이 결국 인간의 성적 취향만족이되고 최종적 목적이 인간의 복제라는 투어링 테스트 따위라는 것 - 그것이 비판받을 목적인지는 별도의 질문이지만 굉장한 실망. A.I. 보다 흥미로운 data 라는 주제를 인간이라는 틀에 구겨넣은 것은 죄일 지다. 

 Ex Machina leans heavier on ideas than effects, but it's still a visually polished piece of work -- and an uncommonly engaging sci-fi feature. rotton tomato 공감 할 수 없는 반응이 더욱 당황스럽. 아이디어를 꿰 뚫을 자신이 없었다면 이펙트라도 재미를 주어야하는 것 아닌가. 

영상면으로도 자연의 경관 외에는 감탄 할 요소가 없다. 푸르름과 강박함 따위의 대조만을 제시. 그 조차도 재미진 볼 거리는 무. 거리감이나 각도의 움직임이 새롭지도 완벽히 클래식하지도 않으며, 그러하다고 배우들의 연기로 모든 것을 불구하고 볼만한 영화가 되지도 못한다. 

이것이 대중의 안목인 것인가, 믿기 어렵다. 믿고 싶지 않다, 무엇인가 흥미의 요소가 하나라도 있을거라는 희망으로 후반을 접어들었지만, 값 싼 피 따위로 클라이막스를 찍는 플롯은 영화를 끄게 만들었다. 


글을 적는 시간과 에너지가 아쉽다. 



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26:39
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Our Curse

In this Oscar-nominated documentary, a young couple struggles to overcome every new parent’s worst nightmare: a child born with a life-threatening illness.

 Video by Tomasz Śliwiński on Publish DateFebruary 3, 2015. 
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Four years ago, my newborn son, Leo, was given a diagnosis of a very rare and incurable disorder known as Ondine’s Curse. Also called Congenital Central Hypoventilation Syndrome (C.C.H.S.), the disorder prevents the thousand or so people known to have been born with it from breathing while asleep, and sometimes also while awake. Though the disorder is manageable when treated, our son is likely to need a ventilator for the rest of his life.

This documentary follows my first few months of parenthood — as my wife, Magda, and I confronted the realities of our new life. After Leo finally came home from the hospital, with a collection of medical equipment, we worked hard to tame our fears and slowly adapted to our circumstances. Gradually our perception of Leo changed, too: He evolved from a “curse” (a term we took from the disorder’s name), an alien creature with lots of medical noisy equipment, into our truly beloved son, without whom we could no longer function.

That period of our lives was depressing and devastating. But shooting this film helped us a great deal. It kept us going; instead of succumbing to depression, we could direct our energy into something creative. At the time, we were not sure if we were going to show this film to anyone – it felt much too intimate and private. However, after a few months I realized that we had gone through the universal process of coping with any obstacle, even one that seems impossible at first. It was then that I felt that we should share this experience with others. I decided to complete the film.

For me, the most important thing in editing this film was to trace our emotions as closely as possible and to present the whole story honestly, as we really experienced it. We wanted to show that that even the worst moments of life can be turned into something positive, provided you do not lose hope. For us, the story of our family is one of overcoming the worst, and ultimately, of being truly grateful for what we have.

In December, Leo turned 4 years old. He is a cheerful young boy with a wonderful sense of humor, and is doing very well in school. His speech is still a bit delayed, but we’re helping him with it and I’m sure he will overcome this too – because our son is a real fighter.

http://www.nytimes.com/2015/02/02/opinion/our-curse.html?smid=tw-nytimes 

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Gone Girl, review: 'shocking'

David Fincher's adaptation of Gillian Flynn's best-seller, which stars Ben Affleck and Rosamund Pike, is unnerving and provoking, says Robbie Collin

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4 out of 5 stars

Directed by David Fincher. Starring: Rosamund Pike, Ben Affleck, Carrie Coon, Kim Dickens, Neil Patrick Harris, Tyler Perry, Missi Pyle, Casey Wilson, Emily Ratajkowski.

Cert 18, 145 mins.

Can someone vanish if, in the first place, they were never truly there? A missing-person thriller might not seem like a likely forum for this kind of metaphysical grappling, but David Fincher, the director of The Social Network, Fight Club and Zodiac, is not a filmmaker prone to swaddling his audience in the consolations of the likely.

Fincher’s 10th filmGone Girl, is based closely on Gillian Flynn’s best-selling 2012 novel which used a page-turning plot line – the sudden disappearance of a smart, pretty, married woman called Amy Elliott-Dunne (Rosamund Pike) – to unpick the modern mania for presenting a perfected version of ourselves to others, even as the truth roils and bubbles underneath.

In Fincher’s hands, that smart but arguably undisciplined story becomes something even wilder and yet perversely also more controlled – a neo-noir thriller turned on its blood-spattered head. Here, it’s the homme, rather than the femme, who has the fatale aura, and what comes out of the past only serves to further cloud the murky present.

But above all, it's a delicious exercise in audience-baiting: what begins as a he-said, she-said story of mounting, murderous suspense, lurches at its fulcrum into the kind of hot mess Brian De Palma might have cooked up 20 years ago in his attic. Reports that Flynn had, while writing the screenplay, dramatically reworked her original ending, are accurate, but only after a fashion. The plot is essentially unchanged, but every screw has been tightened, and a new confrontation scene delivers a brutal, yet agonisingly un-final, showdown.

The film begins cryptically, close to that end-point, before looping back to the morning of Amy’s disappearance from the home she shares with her husband Nick, brilliantly played by Ben Affleck as a man who has finally realised his life will never quite live up to the promise of his jawline. This is recession-era America, old and tired, and even the dawn inching over the shuttered shops looks stale.

We learn that Nick and Amy lost their New York-based writing jobs in the downturn, now he and his twin sister Margot (Carrie Coon) run a bar in the town where he grew up, while she sits at home, gathering dust.

These scenes are stern and crisp, underscored not with music, but the dust-dry buzz of air-conditioning and fluorescent light. We hear it when Nick comes home to find the living room furniture turned upside down and his wife of five years nowhere to be seen – and again when he’s taken in for questioning by Detective Rhonda Boney (Kim Dickens), who wonders if there’s more to this man than meets her already sceptical eye.

Soon, though, via an entry in Amy’s diary, the film flashes back to the couple’s first meeting at a chichi New York party. The voluptuous, Angelo Badalamenti-ish score, by Trent Reznor and Atticus Ross, aches and swells, while Amy and Nick’s conversation snaps along to a seductive, screwball beat. Afterwards, they go walking arm in arm through the city at night, when they’re suddenly enveloped by clouds of icing sugar that come billowing out of a baker’s window. They stop and share a sweetened kiss in the tawny moonlight. The past, for these two, looks like a sugar storm.

The film shuttles between these two time periods, and Fincher’s masterstroke is in making neither ring entirely true: the director is so adept at crafting concretely plausible fictions, he knows exactly which details to tweak to throw the balance slightly off.

In the present, Amy is nowhere to be seen. In the past, she’s everywhere. Pike, who’s so often quietly admirable in films of varying quality, has waited more than a decade for a role this juicy, but what amazes you is how methodically she seizes on it: not with the hungry pounce and rip of a wild cat, but the rhythmic constrictions of an anaconda. Amy is the best thing Pike has ever done: her performance is taut and poised, and at times almost masque-like. While her diary voiceovers swoon with emotion, her face gives you almost nothing.

It’s possible that Amy’s darker monologues may induce in female viewers the same double squirm felt by men listening to Edward Norton’s Fight Club voiceover: the shock that someone would ever dare to say such things out loud, coupled with a pit-of-the-stomach throb of recognition. There is a key speech in the novel in which Amy describes the fate of the "cool girl" – the archetypal sexy girlfriend who morphs, unbidden, into a pliant wife — that Pike delivers with a note of venomous triumph that makes you want to cheer.

The revealing of Amy’s fate, which takes place not at the end of the film but at its centre, with a mad magician’s flourish, is expertly handled, re-energising the plot while ushering in some fun new characters, not least of all Neil Patrick Harris as Amy’s WASP-y ex-lover and Tyler Perry as a grandstanding lawyer. And for all its simmering malice and buried secrets, it’s worth remembering that this is David Fincher in fun mode: unnerving, shocking and provoking for better and for worse, in sickness and in health, but mostly sickness.


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Movie Review: ‘Gone Girl’

The Times film critic Manohla Dargis reviews “Gone Girl.”

 Video by Robin Lindsay on Publish DateSeptember 26, 2014. Photo by Merrick Morton/20th Century Fox.
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“Gone Girl,” the latest from that dark lord of cinema, David Fincher, opens with a man softly talking about his wife’s head. The image of his hand caressing a woman’s sleek blond hair in close-up indicates that it’s a lovely head, a lovely wife, too. Yet the violence of his words — he speaks of cracking her skull open and “unspooling” her brain — wakens an unease that trembles throughout this domestic horror movie. Those familiar with Mr. Fincher’s work may wonder, perhaps with a shudder or a conspiratorial smile, whether this head will share the fate of another head belonging to another pretty wife, a gift that was boxed and delivered in one of the hellish circles girdling his shocker “Seven.”

Unspooling is such an inapt word — can brains, after all, be unspooled? — that it immediately puts dread in check. No matter how brutal the images generated by these words, surely there’s more in store than blunt-force entertainment. Well, yes and no, which is sometimes the case with Mr. Fincher. One of those filmmakers whose technical prowess can make the mediocrity of his material seem irrelevant (almost), Mr. Fincher is always the star of his work. His art can overwhelm characters and their stories to the point that they fade away, leaving you with meticulous staging and framing, and edits as sharp as blades. It’s no accident that the first time you fully see Nick Dunne (Ben Affleck), the man who had been discoursing so vividly about his wife’s head, he’s alone.

Photo
Rosamund Pike and Ben Affleck in "Gone Girl," directed by David Fincher.CreditMerrick Morton/20th Century Fox

(“Gone Girl” opens the 52nd New York Film Festival on Friday and opens in theaters next Friday.)

“Gone Girl” is set in the recessionary present in a small fictional Missouri town, North Carthage. Around the time you meet Nick, Mr. Fincher folds in some typical snapshots of desperate Anytown, U.S.A.: empty shops, vacant streets and homeless people tramping into the void. Nick and his wife, Amy (Rosamund Pike), aren’t headed for Brokesville quite yet, but they’re clinging hard to the status quo. They’re leasing their big, ugly house, and their bank account is running on fumes. The screenwriter, Gillian Flynn, adapting her novel of the same title, was a television critic for Entertainment Weekly who was laid off, and her characters share the same hard-knock fate: Nick, some kind of magazine writer, lost his New York job, as did Amy, who wrote quizzes for women’s magazines. (Was that a job? A. Yes, B. No, C. I doubt it.)

Times are hard, kind of, for Nick and Amy, but, as you discover in a series of flashbacks, they moved to North Carthage only when Nick’s mother received a cancer diagnosis. She died, and shortly after, so did the bloom on the marriage, though how it fades depends on who’s confessing and complaining. In the book, the narrative duties are fairly evenly distributed between Nick and Amy, who recount alternating versions of their happy times and unhappily ever after, with him taking you through events as they happen in the first person, while her point of view comes into focus partly through her detailed diary entries. The movie more or less duplicates this he-says, she-writes pattern, although with a critical difference: Nick’s story doesn’t unfold wholly through his first-person account.

Mr. Fincher, for all his modern themes and bleeding-edge technologies, is a classicist, and in “Gone Girl,” he creates a sense of Nick’s subjectivity the usual way, mostly by placing the camera next to the character and deploying point-of-view shots that are seamlessly integrated with shots of, and generated by, other characters. Shortly after the movie opens, the plot fires up, as you watch Nick return home to find that Amy has gone missing. You see him pick up their cat and watch him fling open doors, roam the halls and discover a broken glass table. In other words, here you know what Nick knows, which, as it will turn out, isn’t much. Amy is gone, and as Nick, the police, the town, the news media and the country shift into progressively more hysterical crisis-and-circus mode, she stays gone.

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Interactive Feature: Fall Arts Preview - Times 100

Mr. Fincher’s compositions, camera work and cutting are, as always, superbly controlled. Working again with the cinematographer Jeff Cronenweth and the production designer Donald Graham Burt, he fashions an ever more haunted, haunting world that wavers so violently between ordinariness and aberration that, as in his other movies, the two soon blur. Nick may feel at home in North Carthage, but, from that first shot of him alone in front of his house — and from his first conversation with his sister, Margo (Carrie Coon), in which they trade insults about Amy — he comes across as alienated, lost. Mr. Fincher underlines that isolation by showing Nick both alone in the frame and in his house, where he’s at times dwarfed and almost swallowed up by its generic, oversize rooms.

Amy’s voice-overs disrupt the movie’s inaugural seriousness. In flashbacks introduced by her scribbling in her diary, she reveals that she’s the inspiration for a beloved and profitable book series about a girl, Amazing Amy, created by her psychologist parents, Rand and Marybeth (David Clennon and Lisa Banes). Like Hannibal Lecter (a psychiatrist), Amy’s parents have profited from messing around in other people’s heads. (Your parents plagiarized your childhood, Nick says with husbandly commiseration.) They’re cartoons, but then, so is Amy, whose narration Ms. Pike delivers in an affectedly hushed, conspiratorial voice that’s so arch that you can picture Amy’s lips curling at the edges. Mr. Fincher doesn’t show you her sneer; he doesn’t have to. It imbues every word she says, instantly casting her as an unreliable narrator.

Given that the first half of “Gone Girl” is structured as a mystery, this unreliability presents a problem because it throws everything Amy says into doubt. Along with Mr. Affleck’s supple, sympathetic performance, Amy’s voice-over tips the scales so far in Nick’s favor that it upends Ms. Flynn’s attempt to recreate the even-steven dynamic from her book. Then again, the movie is on Nick’s side from the start, making the case for him, from the way he services Amy sexually to the gentle way he treats their cat. He sometimes explodes, as when he throws a glass to the floor while talking to two cops, Boney (an excellent Kim Dickens) and Gilpin (a dryly funny Patrick Fugit). The Nick here, like so many noir heroes, is simply, too simply, a decent, deflated, ordinary sap with serious woman problems.

The same is true of this movie. At its strongest, “Gone Girl” plays like a queasily, at times gleefully, funny horror movie about a modern marriage, one that has disintegrated partly because of spiraling downward mobility and lost privilege. Yet, as sometimes happens in Mr. Fincher’s work, dread descends like winter shadows, darkening the movie’s tone and visuals until it’s snuffed out all the light, air and nuance. As Nick becomes mired in the search for Amy, she confides how romance gave way to marital dreariness, accusations, his mounting loathing, her growing fear. One minute, he was leaving empty takeout containers strewn about and playing video games; the next, she says, he was raising a hand to her and she was cowering in their bed. She has the victim thing down cold.

By the movie’s second half, you may wish that Amy would stay gone. Ms. Pike has some fine scenes in this section, notably with a pair of hilariously sly lowlifes, Greta and Jeff (Lola Kirke and Boyd Holbrook), who, taken with a pompous, wealthy fool (Neil Patrick Harris as Desi), suggest that the movie is about to go deeper, that it will surprise you or stir you or say something, anything, maybe by making good on its scene-setting images of empty American stores. That never happens, and instead, the movie just hums along like the precision machine it is, even after it shifts tones again and enters Grand Guignol territory, with a flashing knife, gushing blood and surveillance footage of a seemingly tortured, horrifically abused and screaming woman. It’s a ghastly vision, although not for the reasons this movie would like.

“Gone Girl” is rated R (Under 17 requires accompanying parent or adult guardian). Extreme violence.


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These Floral Arrangements Are Beautiful Beyond Your Wildest Dreams

Posted: Updated: 

2012-10-11-omaglogo.jpg

Rebecca Louise Law turns bunches of flowers into blossoming works of art.

By Zoe Donaldson

As an art student at England's Newcastle University, Rebecca Louise Law wanted her nature-inspired oil paintings to invite viewers into a captivating setting, but didn't think a flat canvas was up to the task. "I needed new materials to create an immersive experience," says Law, 34. So she tapped into her roots for inspiration -- "My dad is a gardener and grows thousands of flowers. It was crazy for me not to use them!" With help from her green-thumbed pop, she began hauling carloads of bouquets to her studio and sculpting 3-D installations that could spring from a wall or hang from a ceiling.

In the past five years, she's designed dozens of breathtaking pieces: a whimsical rose-garden-turned-wall-hanging for an upscale restaurant, pink peony garlands and chandeliers for a Jo Malone London fragrance launch and a grand suspended curtain at La Monnaie opera house in Brussels, where Law and a team of 50 strung nearly 5,000 blue and green hydrangeas (carefully tying each one to copper wire) above the stage. The work is painstaking, and it happens fast: "When you're using fresh-cut flowers," says Law, who handles an estimated 25,000 to 30,000 every year, "they typically need to go up within 24 hours. It gets intense."

Yet Law's favorite part of her work comes after the freshness fades. "Flowers have become some throwaway thing you buy at a supermarket," she says, "but all aspects of nature, even the decaying process, have value." In fact, her ideal project is one that would never stop growing: "I'd love to do a permanent installation in a church or a lighthouse that I can always add to," Law says, "where people can watch new and old flowers change and age over years and years" -- and, yes, stop and smell the roses.

Here are a few of Law's stunning designs:
  • Kim Richardson
    "The Yellow Flower," 2014, Nagasaki, Japan
  • Kim Richardson
    "The Yellow Flower," 2014, Nagasaki, Japan
  • Nicola Tree
    "The Pressed Flower," 2014, The Garden Museum, London
  • Nicola Tree
    "The Pressed Flower," 2014, The Garden Museum, London
  • Nicola Tree
    "The Hated Flower," 2014, Coningsby Gallery, London
  • Nicola Tree
    "The Hated Flower," 2014, Coningsby Gallery, London
  • Nicola Tree
    "The Hated Flower," 2014, Coningsby Gallery, London
  • Georgia Poutou
    "Grecian Garden," 2014, Onassis Cultural Centre, Athens
  • Georgia Poutou
    "Grecian Garden," 2014, Onassis Cultural Centre, Athens
  • Nicola Tree
    "Roses," 2013, the Garden Museum, London


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사람들은 놀랍다. 환상적인 공연, 눈을 감고 흥껏 취할 수 있는 흔치 않은 경험, 환상.





한국 재즈의 새로운 이정표, 말로-전제덕-박주원 '더 쓰리 라이브'

[장병욱의 재즈 너나들이] 세월호 추모에서 즉흥 열기까지 내용과 형식 신지평

수정: 2014.12.29 11:29
등록: 2014.12.28 18:55
글자 크기 축소글자 크기 확대

더 쓰리 라이브: 말로 전제덕 박주원 공연 모습

‘더 쓰리 라이브’라니 제목치고는 너무 덤덤하다. 그러나 그 안에는 콘텐츠의 뜨거운 충돌이 숨어 있었다. 열정(passion)은 말로의 보컬을, 우아(grace)는 전제덕의 하모니카를, 화염(fire)은 박주원의 기타를 각각 상징하는 삼원색 포스터가 아르코예술극장 대극장 로비의 관객 위로 내려 앉고 있었다.

26일부터 28일까지 펼쳐진 공연은 여러 시청각 이미지가 어우러져 빚은 하나의 작품이었다. 짐짓 덤덤하게 추보식으로 그 현장을 따라가 본다.

무대는 안토니오 카를로스 조빔의 감미로운 보사노바 ‘딘디’로 시작했다. 한겨울에 듣는 보사노바라니. 스탠 게츠의 라이브 명반 ‘게츠 아우 고고’가 코 앞에서 재현되는 듯한 감동을 재현하고 싶었다면 무대의 의도는 성공한 셈이다. 재즈의 구루(Guru) 콜트레인이 선법재즈(Modal jazz)의 이상으로 실현했던 ‘마이 페이버리트 씽스’가 라틴음악의 열정으로 부활하면서 장내 온도가 높아갔다. 단조와 장조를 마음대로 오가는 무봉(無縫)의 연주, 하늘로 올라간 말로의 스캣은 ‘꽃잎 지네’에서도 확인됐다. “오늘 공연은 이상하게 가슴이 떨리고 기분도 상승되네요.” 말로의 말이다.

그 상승이 부질없는 열광이 아니었다는 사실은 이어진 ‘제자리로’가 말해 주었다. 신보 ‘겨울 그리고 봄’에 수록된 ‘제자리로’의 가사 일부는 이렇다. “깨우지 마라 저 포근한 집들의 밤을 / 흔들지 마라 저 아늑한 꿈들의 밤을.”

세월호에서 절체절명의 순간에도 평정을 유지했던 어린 학생들을 기억하는 노래다. 아이들을 놓아 보낸 항구의 스산한 풍경과 흩날리는 꽃잎이 스크린에 투영됐다. 트럼펫은 위령의 선율로 가세했다. “길 잃은 아이 이제 제자리로 / 떠났던 사람 다시 제자리로”라는 3절은 객석이 나지막이 합창하면서 불렀다. 공연장이 아니라 무참히 떠나 보낸 것들에 대한 하나의 제의였다.

그러나 ‘너에게로 간다’에서는 라틴 리듬으로 반전을 이루었다. 끝없이 달리는 기차 맨 앞에서 잡은 동영상이 무대 전면의 스크린에 펼쳐졌고 그 순간 드럼이 리듬의 향연을 연출했다. 격렬한 삼바 리듬의 드럼 솔로가 마침내 객석의 가슴에 불을 지폈다. 1960년대를 풍미한 백인 여성 재즈 가수 아니타 오데이가 무대에서 그랬던 것처럼 말로는 아예 뛰어다니며 분위기 반전을 시도했는데 그것이 보기 좋게 들어맞았다. 한 줄짜리 베트남 민속악기 단보우의 신비한 소리를 목으로 내며 말로는 특별한 스캣 창법으로 객석을 맞았다.

이어 박주원이 기타 솔로 ‘밀크셰이크’를 들려주었다. 플라멩코 기타의 전설인 파코 데 루치아가 울고 갈 정도의 현란한 라틴 기타였다. 스크린의 만화경 같은 이미지 동영상이 객석의 상상력을 자극했다. 박주원은 마이크를 잡더니 “여러분의 가슴에 불을 지르려 3집에 나오는 곡을 연주했다”며 다시 ‘카발’을 선보였다. 박지성 선수를 위한 곡 ‘캡틴 No7’은 박지성의 드리블보다 더 화려한 음을 분사했다. 그의 기타는 어쿠스틱 악기가 사이버 시대에도 왜 당당히 존재하는가를 보여주었다. 속주의 끝이라 해도, 절륜의 경지라 해도 좋다. 그것은 단순히 기교를 넘어 소리의 질감, 잊고 있던 가치에 관한 문제다.

전제덕은 알려진 라틴 음악 ‘키사스 키사스 키사스’를 장조와 단조를 넘나드는 연주로 구현했다. 새 순이 움트는 영상을 배경으로 펼쳐진 ‘봄의 왈츠’는 그가 자신의 무대 제목인 ‘우아(grace)’와 왜 한 묶음인지를 명쾌하게 설명했다. 흥겨운 보사노바 ‘댄싱 버드’에서 그는 추임새 같은 괴성을 질렀다. 드럼 세트와 타악 세트가 현란하게 메기고 받으면서 판에 끼어들었다.

이 날 무대는 세 뮤지션이 이제껏 펼쳤던 풍경과 조금 달랐다. 그것은 이들의 예술이 사회적으로 존재하고 있다는 사실 때문이다. 무대의 저변에 정부의 통합문화이용권 사업과 서울문화재단의 예술로희망드림 사업이 깔려 있었다. 어려운 환경 속에서도 예술가를 꿈꾸는 청소년 420여명이 초청돼 있었던 것이다. 예술로희망드림 사업을 통해 발굴된 음악 꿈나무 우용기(피아노)도 무대에 올라 감동을 선사했다. 쇼팽의 ‘피아노 소나타 제2번 1악장’의 능란한 분산 화음이 극장 가득 감흥을 채우며 신성의 출현을 알렸다.

이에 운을 맞추듯 전제덕이 하모니카로 구사한 라흐마니노프의 ‘보칼리제’ 선율은 리릭 소프라노에 필적했다. 전제덕의 하모니카는 삼바의 열정에서 북구의 우수까지, 그야말로 종횡무진의 기세로 구현하는 ‘마술피리’였다. 모차르트가 동명의 오페라를 구상했을 때 저 정도의 소리를 염두에 두지 않았을까.

무대의 압권을 꼽으라면 세 사람이 나란히 앉아 펼친 시간이었다. “제덕씨가 저의 ‘벗꽃 지다’를, 저는 주원씨의 ‘슬픔의 피에스타’를 연주하겠어요.” 말로의 이 말은 한국에 재즈라는 상징어 아래 단단히 결합된 커뮤니티가 탄생했다는 선언이었다. 목소리, 하모니카, 기타가 서로의 몸을 빌어 빙의라도 하듯, 세 사람의 드나듦은 너무나 자연스러웠고 동시에 새로운 차원의 그 무엇을 주장하고 있었다. ‘바람’ 같은 곡에서는 하모니카와 기타가 한 치의 오차도 없이 복잡한 멜로디를 연주했다. 마치 찰리 파커와 디지 길레스피가 펼쳐 보였던 제창(unison)처럼. 그러면서 각자의 자유는 존중됐다. 뉴올리언스 재즈의 집단 즉흥이 저러지 않았을까.

이 지점에서 ‘이주엽 사단’의 탄생을 말하고 싶다. 이처럼 예술성과 대중성이 결합해 미래의 열린 형식으로 나아갈 수 있었던 기저에는 이주엽이 기울인 분투의 시간이 두텁게 퇴적돼 있다. 그는 세 사람, 나아가 참신한 재즈의 여러 힘을 결집하고 재조직했으며 뛰어난 작사가로 모든 곡에 언어의 날개를 달아준 주인공이다.

객석은, 공연 후 하모니카를 집어 넣은 전제덕의 노래 실력을 확인하고 싶었다. 그의 노래 솜씨는 알만한 사람은 다 알고 있다. 그는 스티비 원더의 ‘이즌트 쉬 러블리?’를 원더보다 더 원더처럼 불러 기대에 부응했다. 세 사람의 변신에 시간 가는 줄 몰랐던 객석은 그제서야 퍼뜩 정신을 차려 집으로 발길을 돌렸다. 장병욱 선임기자aje@hk.co.kr


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배우가 2명인 연극. 크게 어메이징 할 만한 포인트도 없고, 내용에 신선함 또한 없는 밑밑한 드라마. 


무대연출: 책상, 액자, 책장 등 모든 소품은 올드와 뉴, 클래식과 모던의 공존을 혹은 대립을 보여주 듯 반씩 디자인. 테이블과 창이 놓인 동그란 센터는 신이 지날 때 마다 90도 가량 회전. 세트와 배우의 다른 각도들을 볼 수 있다는 없는 것에 없더해지는 미미한 생동감. 


의상: 영국어느 작은 도시를 그리 듯, 소소한 소품들. 캐릭터의 성격을 가득 살린 교수와 미용사. 세팅과 평행하듯, 조금씩 배움이 늘며 더딘 성장을 보여 주 듯, 한 장씩 변하는 캐릭터의 의상. 전형적인, 재미 없는, 안전한 연출.


스토리: 모르지만 배움을 원하는 당당함, 그것이 궁극적 배운자의 당당함이 되는 과정. 작은 도시의 여자는 기술하나로 생활함이 당연한 사회의 모습. 학교를 통해 큰 도시를 경험하고 그것으로 행복함을 배우는 주인공. 대학생이 되고싶다는 꿈이, 내가 무엇을 원하는지 모르지만 결정 할 수 있다는 자신감을 배웠다는 만족감으로 대체되어, 행복에 도착한 주인공. 흔하고 감동없는 스토리. 

와중 재미지었던 포인트는 무너지는 교수. 그는 어떠한 시를 쓰고 싶었고 그것에 대한 좌절감은 얼만큼의 고통이었을까. 더불어 그의 '무엇을 원하는지 모르는' 흔한 혼란과 그에 따르는 자괴감. 더불어 따르는 주위 사람들의 떠남. 그는 전형적인 사회인의 표현인지 혹은 소수의 과장인


강혜정: 저 사람이 엄마인가 싶은 강혜정. 관객들 눈을 바라보며 대사를 외는 강혜정.

적어도 나에게는 드라마의 강권이었던 강혜정. 저 여자는 행복할까라는, 배우에 대한 성찰을하게 만드는 여자. 자연스러운 하지만 연기라는 것이 확연한, 형식적 전형적 배우라는 모습을 보여 준 연극. 배우로써 엄마로써 아내로써 사는 삶은 쉽지 않을까 쉬울까, 피곤할까, 고민스러울까 - 저 배우는 정말 이 연극을 연기하고 싶었을까, 궁금증을 유발하는 사랑스러운 여자.


나의 이해도가 얼마인지 반은 될런지, 무관히 그저 그러하였던 공연. 



문화의 행복은 그것 자체라기보다 그로인해 내가 향하는 방향일 것이다. 미미하게나마 나를 셰익스피어로 인도한 공연에게 감사. 




셰익스피어가 중년에게 주는 9가지 교훈 


첫째.  학생으로 계속 남아 있어라. 
배움을 포기하는 순간 
우리는 폭삭 늙기 시작한다. 

둘째.  과거를 자랑하지마라, 
옛날 이야기밖에 가진 것이 없을 때 당신은 처량해진다. 
삶을 사는 지혜는 지금 가지고 있는 것을 즐기는 것이다. 

셋째.  젊은 사람과 경쟁하지 마라. 
대신 그들의 성장을 인정하고 
그들에게 용기를 주고, 그들과 함께 즐겨라. 

넷째.  부탁 받지 않은 충고는 굳이 하려고 마라. 
늙은이의 기우와 잔소리로 오해 받는다. 

다섯째.  삶을 철학으로 대체하지마라, 
로미오가 한 말을 기억하라 
"철학이 줄리엣을 만들 수 없다면 그런 철학은 지워버려라" 

여섯째.  아름다움을 발견하고 즐겨라. 
약간의 심미적 추구를 게을리 하지마라. 
그림과 음악을 사랑하고 책을 즐기고 자연의 아름다움을 만끽하는 것이 좋다. 

일곱째.  늙어 가는 것을 불평하지 마라,
가엾어 보인다. 
몇 번 들어주다 당신을 피하기 시작할 것이다. 

여덞째.  젊은 사람들에게 세상을 다 넘겨주지 마라. 
그들에게 다 주는 순간 
천덕꾸러기가 될 것이다. 
두 딸에게 배신당한 리어왕처럼 춥고 배고픈 노년을 보내며 두 딸에게 죽게 될 것이다. 

아홉째.  죽음에 대해 자주 말하지마라. 
죽음보다 확실한 것은 없다. 
인류의 역사상 어떤 예외도 없었다. 
확실히 오는 것을 일부러 맞으러 갈 필요는 없다. 
그때까지는 삶을 탐닉하라. 
우리는 살기 위해 여기에 왔노라! 


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인터스텔라 (2014)

Interstellar 
8.1
감독
크리스토퍼 놀란
출연
매튜 매커너히, 앤 해서웨이, 마이클 케인, 제시카 차스테인, 케이시 애플렉
정보
SF | 미국 | 169 분 | 2014-11-06
글쓴이 평점  



감독은 Gravity 에 비하기 싫어 Gravity 관람을 거부했단다. 단호함은 플러스 고집은 굳이 요소. 

보다 미화 할 수 있는 우주, 물리, 다차원 세상의 아쉬운 시각적 표현. 

죽음에 가까운, 사고요소를 지닌 선택과정, 희생의 여부, 혼자 버려졌다는 암담함 등의 심리적 요소를 드라마화. 

내용보다 한 번은 볼 만한이라는 주위 반응에 비해, 볼 거리는 아쉽지만 내용은 참신했던 느낌. 소소히 웃었고 많이 울었다. 


가장 크고 비교적 월등히 우수한 장점이라면 이 시대에 필요한 물리에 대한 호기심을 유발하는 긍정적인 투자. NASA, CERN, 시공이라는 어려워 지루 할 수 잇지만 중요한 분야에 대중의 관심을 끄는 힉스 이 후의 가장 큰 이슈. 10대들에게 꼭 굳이 권해야 할 영화.


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