The Trademark Blog reports: "The text of the bill authorizing spoofing and other activities designed to prevent the distribution of unauthorized works on a peer to peer network is available on the Politech site.

Interesting—the copyright owner has to notify the Department of Justice 7 days in advance of taking action.

Yeah, I can see the major safeguards of that notification provision in action already. . . .

INT. DAY. Windowless back room at Department of 
Justice (DOJ). A lonely FAX MACHINE sits in the 
corner, spitting out paper in a steady stream.
      
      
            FIRST DOJ EMPLOYEE
            
      Uh, could you pick up those fax papers 
      that are starting to cover the floor?
      
      
            SECOND DOJ EMPLOYEE
            
      Sure. 
      
 (reads a fax)
      
      Say, it looks like Microsoft is going 
      to send out some sort of 'remedial patch' 
      to fix some file-sharing problem that is 
      going on around the country.
      
      
            FIRST DOJ EMPLOYEE
            
      Okay, whatever -- just get all those papers 
      off the floor.  And let me know when 
      the coffee is ready.

[Ernie the Attorney] [Ernie the Attorney]

LOVELY AND AMAZING looks ugly: the lighting does not suit its digital video (DV) medium (It is possible to have great-looking DV, but the cinematographer must manage the light differently from the way it is done for film). It is painful to watch. For example, in closeup, shadows falling on an actress's face, instead of modelling it, give the appearance of a man's "five o'clock shadow," which is distracting.

Of course, none of this would matter, were the drama compelling. It is not. It is a commonplace that screenwriters should write "subtext, not text," and so it is surprising that the dialogue should be all text and no subtext—it's like watching a diagram, not a drama.

LOVELY AND AMAZING is all talk—even its nude scene could be apprehended in every important detail without looking at the screen. It is what Alfred Hitchcock called, "pictures of people talking." It is a filmed play. Because it doesn't even attempt to tell itself with pictures, it cannot really be considered cinema. It is as though the director (or writer) does not trust a picture to carry the burden of narrative.

There is nothing "independent" about it, either. It is about the rich and spoiled Hollywood subculture of Los Angeles, from that point of view. There's nothing wrong with that—THE BAD AND THE BEAUTIFUL covers the same ground—but that somehow it is something new and truly different (which is what the "indie" label used to suggest) is pretense. This is just farm-team Hollywood.